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. continued on page 8 2 Music in 18th-Century Life: Cities, Courts, Churches he Society for Eighteenth-Century Music is pleased to announce its first annual conference, to be held at Georgetown University April 30–May 2, 2004. The Society cordially invites all members to attend. The registration form is included in this issue of the Tnewsletter and the program appears below. Check our website at www.secm.org for more information. Friday, 30 April Bella Brover-Lubovsky, “Death in Vienna: Vivaldi and the Paradox of Historical Recognition” 9:00 Trip to Library of Congress (travel by METRO, ca. $3.00) 12:15 Lunch 10:30 Registration begins 2:00 Paper Session 4: Music in London, Rupert Ridgewell, chair 11:45 Opening Luncheon at Georgetown, Leavey Center Charles Gower Price, “Evidence for Corellian Style 1:15 Recital, McNeir Auditorium: “Piano Music Around Adagio Improvisation in London Concerts: The the Court of Marie Antoinette” Maria Rose, Publications of Walsh and Hare (1707–1728)” fortepiano Todd Decker, “Scarlattino, The Wonder of His Time: 2:30 Paper Session 1: Opera, Paul Corneilson, chair Domenico Scarlatti’s Absent Presence in England” Marie-Louise Catsalis, “Alessandro Scarlatti’s Clori, Arthur Searle, “Pleyel’s ‘London’ Symphonies” Dorino e Amore: A Serenata for Filippo V” 4:30 Project Report Session B: Composers and Historians, John Rice, “A Dispute Involving the Musico Giovanni Alvaro Ribeiro, chair Manzoli and Mozart’s Ascanio in Alba” Paul Corneilson and Dexter Edge, “Carl Philipp Margaret Butler, “Exoticism in Eighteenth-Century Emanuel Bach: The Complete Works” Turinese Opera: Motezuma in Context” Sheryl K. Murphy-Manley, “Francesco De Majo and Daniel E. Freeman, “Mozart, La Clemenza di Tito, and His Una Bellissima Musica: A Collected Edition of His Aristocratic Reaction in Bohemia” Sacred Music” 5:15 Project Report Session A: Genre Studies, Michael Philip Olleson, “Charles Burney in the 1790s” Ruhling, chair 6:00 Dinner Mark Knoll, “The Early String Quartet” 7:30 Concert, McNeir Auditorium: “Chamber Music of Mary Sue Morrow, “The Eighteenth-Century the Bach Circle” Mary Oleskiewicz and Steven Zohn, Symphony” flutes, and David Schulenberg, harpsichord. ($5.00) Saturday, 1 May 9:30 Reception at Holiday Inn, Rosslyn. Dogwood Room.

9:00 Paper Session 2: Sacred Music, Bruce McIntyre, chair Sunday, 2 May Jen-yen Chen, “Church Music, ‘Classical’ Style, and 9:30 Paper Session 5: Hamburg, Dresden and Stockholm, the Dialectic of Old and New in Late Eighteenth- Sterling Murray, chair Century Musical Cultures” Steven Zohn, “Telemann’s Wit: Burlesque, Parody, and Harrison Gradwell Slater, “Mozart and Sacred Music Satire in the Ouverture-Suites” in the Ambrosian Capital” Markus Rathey, “Celebrating Patriotism: C. P. E. Janet K. Page, “For The Use Of Her Spiritual Sisters: Bach’s Compositions for the Militia in Hamburg A Mid-Eighteenth-Century Devotional Book From (1780–1783)” the Viennese Convent of St. Jacob” R. Todd Rober, “Gottlob Harrer’s Sinfonias and 11:00 Paper Session 3: Italians Abroad, Anthony DelDonna, Society: Cultural Influence on Style Traits of an Early chair Sinfonia Repertory in Dresden” Guido Olivieri, “Between Naples and Paris: Bertil Van Boer, “Anton Bournonville and the Neapolitan Virtuosi and the Aesthetic Debates in Stockholm Corps De Ballet: Out-Noverring Noverre” Eighteenth-Century France” 12:00 End of Conference

3 ISECS and ASECS at UCLA Laurel E. Zeiss

he Eleventh International Society for Eighteenth-Century effect “anti-memoirs,” fantasies that enact what her life lacked: Studies’ Congress on the Enlightenment (ISECS) and the spousal love, obedient sons, and stable, unquestioned empires. The annual meeting of the American Society for Eighteenth- Mozart Society of America sponsored two sessions: “Mozart in TCentury Studies (ASECS) took place August 3–10, 2003 at North America: The Eighteenth Century” and “Mozart and the the University of California at Los Angeles. The theme of the Hapsburgs.” There were sessions on dance and on relationships conference was the global eighteenth century. In his welcoming between words and music as well. remarks, Peter Reill, Director of UCLA’s Center for 17th- and Sessions devoted to non-musical topics also included papers 18th-Century Studies, noted that when UCLA agreed to host that addressed music. For instance, a session entitled “Personal the conference the world seemed a calmer, more benign place. Libraries: Their Uses and Significance in the Enlightenment” But in light of September 11 and the wars in Afghanistan and featured a paper on Haydn’s library. The “Centers and Peripheries” Iraq, he felt there was even more need for scholars from various panel included papers on topics as varied as peasant resistance countries to meet and exchange ideas. Participants did indeed under the Barberini rule, in-home amateur music-making in come from all over the globe; approximately 1,000 scholars from London, and legal disputes involving music publishers. over 40 countries attended the congress. In order to encourage The plenary lectures by distinguished senior scholars are participation from more nations, over 50 fellowships were always one of the highlights of ISECS and ASECS conferences. awarded to scholars from countries with weak currencies. This congress featured four such addresses. Michel Delon of the A number of sessions were devoted solely to aspects of music. Sorbonne explored how gradations, measuring, and organizing A two-part session entitled “Libretto as Enlightenment Text” were themes during the Enlightenment. Anthony Padgen of brought together literary and music scholars and covered topics UCLA discussed how philosophers, including Voltaire, Burke, such as the changing treatment of human sacrifice, enlightenment Montesquieu and others were reassessing the reasons for what themes in libretti set by Haydn, and how Rousseau’s writings on they viewed as the decline of Asia and the ascendancy of Europe. music reflect Newtonian and Cartesian methods. Jane Brown’s ASECS President John Bender compared the novels Robinson paper in this session questioned whether scholars should continue Crusoe, Frankenstein and Dracula and showed how they became to consider the libretto and spoken tragedy as separate categories. “modern myths.” Thomas Crowe of the Getty Research Institute She argued persuasively that while many tragedies maintain a used a painting by Chardin as the springboard to discuss facade of neo-classicism, at the core they employ Metastasian “Overlooked Issues of Religion in Eighteenth-Century Painting.” dramaturgy. Mozart’s Don Giovanni was also examined by His presentation took place at the Getty Museum itself and was scholars from various fields. Candelas Gala’s paper on this panel, followed by a lavish outdoor reception. The Getty was closed to which showed how repetition and excess are employed as themes the public that day, so conference participants were given private in the opera, was particularly thought-provoking and elegantly tours of the galleries and its restoration laboratories prior to the written. My own contribution to the session, “Mozart and Da address. Ponte’s Don Giovanni: An Ambiguous Portrait,” explored the Another highlight of the congress was Tom Beghin’s role performers played and still play in our understanding of the performance of C. P. E. Bach’s 24 Character Pieces on the opera and its title character. For example, some of the ambiguities fortepiano. C. P. E. Bach modeled these pieces after specific in Don Giovanni’s music stem from tailoring the part to the persons. In his opening remarks, Beghin drew parallels between strengths of the first singer of the role. Similarly, the session C. P. E.’s musical portraits and William Hogarth’s caricatures; “National Identities in Eighteenth-Century Musical Cultures” he related both artists to the mid-eighteenth-century trend away incorporated scholars from different disciplines and nations. It from general types and towards individuation. Complementary covered a broad range of topics including nationalist discourse slides of Hogarth’s prints were projected on a large screen while around the string quartet, why the acting of English singers was Beghin performed. This juxtaposition prompted discussion considered “natural,” and Serbian liturgical music. afterwards about the nature of humor, national differences, and A number of sessions balanced close readings of music with extra-musical associations in the era’s music. its cultural context. For example, a session titled “Eighteenth- Some sessions, including one sponsored by the MSA, were Century Lyric and the Enlightenment” included a paper on marred by unexplained, last-minute schedule changes; even more Haydn’s songs by Marshall Brown. Brown argued that one of the were hurt by presenters who failed to appear and who did not notify strengths of Haydn’s songwriting is that the music for his strophic their chairs. While some of these no-shows were due to problems settings considers all the verses of the poem and that repeated obtaining visas to enter the U.S., many were not. Perhaps in the musical gestures highlight rather than diminish the differences future ISECS should consider requiring presenters to confirm between stanzas. Sarah Day-O’Connell’s paper on this session their participation by paying the conference registration fee prior demonstrated that time and its fleetingness became a popular topic to the printing the final program. in canzonets when clocks were becoming more widely available Despite these inconveniences, the interdisciplinary character and society’s understanding of time was changing. Similarly, the and international participation in the conference was stimulating. session “Catherine the Great and Performance” examined the role Members of the Society for Eighteenth-Century Music are of dance in Catherine’s imperial court, musical life in the court strongly encouraged to participate in future meetings of ASCES of Anhalt-Zerbst, and how Catherine’s early comic operas are in and ISECS. 4 Book Review Paul Corneilson

Daniel Heartz. Music in European Capitals: The Galant Style, Only the youngest, J. C. Bach (whom Heartz calls an “apostle” 1720–1780. New York: Norton, 2003. of the galant style) did escape to Italy, where he learned to write Italian opera, and ultimately settled in London as a successor to an Heartz is a scholar whose knowledge of eighteenth- Handel, who had died about three years before Bach arrived. Out century music is as deep as it is broad. In his new of respect for the popularity of Handel’s choruses, J. C. Bach and book, a companion to Haydn, Mozart, and the Viennese his rival Sacchini included choruses in their operas for London. DSchool, 1740–1780 (New York: Norton, 1995), he paints a Although a few capitals—including Rome, Turin, Hamburg, massive canvas with a fine brush. The plan is relatively simple: Munich, and Prague—are passed over, the principal cities are chapters are organized first by the most important cities and treated in lavish detail: Naples (chapter 2), Venice (chapter 3), cultural centers of Europe, and second by the most important Dresden and Berlin (chapter 4), Stuttgart and Mannheim (chapter composers associated with each place. But the wealth of detailed 5), Paris (chapters 6–8), London, Saint Petersburg, and Madrid commentary on individual works is astonishing—forty titled (chapter 9). Heartz relies heavily on eighteenth-century writers, works appear as section headings in the table of contents, and especially Charles Burney, and whenever possible uses their dozens of others (from keyboard sonatas and arias to concertos, own descriptions of people, places, and performances. Burney’s ballets, and operas) receive attention. He has the gift of writing comments about the musicians he met and the music he heard about music in such a way that you want to hear and study the are usually quite astute. Heartz amplifies the testimony of his music yourself. witnesses and draws attention to subtle details that breathe life Almost every page in a narrative over a thousand pages has into neglected music. After reading sections on Vinci’s Artaserse, noteworthy information. For instance, I just opened the book at Jommelli’s Didone abbandonata, and Traetta’s Sofonisba, I could random and my eye fell on the following passage (on p. 304): imagine hearing (and seeing) these works in an eighteenth- Lotti’s stay of three years [1718–20 at the Dresden court] century theater. Almost as good as having a time machine. left a mark on the entire musical scene in central Europe, We love and admire the great music of the eighteenth not just on opera…. As late as 1777 Michael Haydn led century—Bach’s Mass in B Minor, Handel’s Giulio Cesare, a performance of a gradual by Lotti that had been given Haydn’s “London” Symphonies, Mozart’s Figaro—and rightly to him in Vienna by Georg Reutter, the music winning so. Throughout his distinguished career as a teacher, editor, the applause of Leopold Mozart (in his letters of 2 and and writer, Dan Heartz has devoted much of his energy and 13 November 1777). enthusiasm to the works that fell between the cracks, in particular opera seria. But this is no mere academic exercise for him, dusting And Antonio Lotti occupies only a minor supporting role in the off forgotten music by obscure composers; rather this has been book, the stars of which are Vivaldi, Vinci, Pergolesi, Galuppi, his passion. To understand eighteenth-century music on its own Piccinni, Jommelli, Hasse, and Gluck. terms helps us to see where Haydn, Mozart, and Beethoven Heartz purposefully ignores Handel and J. S. Bach, both of were coming from. We eagerly await the sequel in which Heartz whom cast long shadows on the periodization of music history in explains where they went. the late nineteenth and early twentieth centuries. In a sense both of these composers stand outside the mainstream of galant music, as did Bach’s two eldest sons—W. F. and C. P. E. Bach. After Upcoming Conferences and Workshops a promising start, W. F. Bach’s career foundered, and he never realized his potential. C. P. E. Bach, on the other hand, was “Le Arti della scena e l’esotismo in età moderna,” Centro di admired as an “Original Genius,” but his music had little impact Musica Antica Pietà de’ Turchini, 6-9 May 2004, Naples, Italy: on succeeding generations. As Carl Friedrich Abel explained to www.turchini.it (click on “attività scientifica”) Charles Burney: The North American British Music Studies Association, If Sebastian Bach and his admirable son Emanuel, “Britannia (Re-) Sounding: Music in the Arts, Politics, and instead of being music directors in commercial cities, Culture of Great Britain,” 18-19 June 2004, Oberlin College had been fortunately employed to compose for the Conservatory of Music, Oberlin, Ohio: qcpages.qc.edu/~jloates/ stage and public of great capitals, such as Naples, Paris, NABMSA.html or London, and for performers of the first class, they “Consort de Danse Baroque: International Summer School would doubtless have simplified their style more to the in Baroque Dance Studies,” 20-30 August 2004, Cardiff, South level of their judges; the one would have sacrificed all Wales: homepage.ntlworld.com/p.waite3/summer/ unmeaning art and contrivance, and the other have Mozart Society of America, Annual Meeting and Study been less fantastical and recherché; and both, by writing Session at AMS in Seattle, 11-14 November 2004: contact Jane in a style more popular, and generally intelligible and R. Stevens: [email protected] pleasing, would have extended their fame, and been “John Eccles and His Contemporaries: Theatre & Music indisputably the greatest musicians of the eighteenth in London, c. 1700,” 24-27 February 2005, Florida State century. (cited by Heartz on p. 63) University, Tallahassee, FL: contact Amanda Eubanks-Winkler: [email protected] 5 Graduate Student News: Their World and Ours Emily H. Green

t is no accident, I believe, that as we step more solidly into American Society for Eighteenth-Century Studies (ASECS) the third millennium—this age of new technologies, new Annual Meeting, Boston, March 24–28, 2004. political alliances and a globalized marketplace—many of us are intellectually drawn to the eighteenth century. We A list of many other conferences on eighteenth-century topics: I www.c18.org/scedhs-csecs/liens.colloques.html search for answers to today’s perplexities in their parallels to or origins in Enlightenment events. The ever-increasing availability A list of all ASECS-affiliated conferences: asecs.press.jhu.edu/ of music on the internet, for instance, recalls the boom in the affiliat.html dissemination of music in the mid- to late-eighteenth century. Journals The decline of today’s orchestras into bankruptcy forces some to consider the orchestra’s conception and rise in the late eighteenth Fermata, a journal from the University of Victoria with century. The prominent role of sampling in popular music today particular interest in publishing graduate student can be seen to mirror the prolific borrowing of Handel, Mozart, papers. For more information contact [email protected]. and others. In the political sphere, the current role of the United Eighteenth-Century Music, a new journal from Cambridge States as a world power draws attention to the circumstances of University Press. SECM members receive a discount of our country’s birth and struggle to define itself in 1776. And so 20% off individual subscriptions. the connections continue. Moreover, these connections are particularly striking to Eighteenth-Century Studies, an interdisciplinary journal and the those of us who have come of age in this new (post-) modern official publication of ASECS. www.eci.northwestern. world—especially those of us who are now graduate students. edu/ecsjournal.html As a result, many eighteenth-century dissertations are in the works. Those listed below include examinations of aesthetics, Dissertation Research Grants the dissemination of music, and musical communities of the Enlightenment. Conversations around these topics found outlets The Eugene K. Wolf Travel Fund (for dissertation research in in graduate student papers at several recent conferences, including Europe): www.ams-net.org the BSECS Conference at Oxford (January 3–5, 2004), ISECS at UCLA (August 3–10, 2003), and “Mozart and the Keyboard Dissertations in Progress or Recently Completed Culture of His Time” at Cornell University (March 27–30, 2003). Emily Dolan, Cornell University: “Transforming the Furthermore, because of the long eighteenth century’s rich Composer’s Palette: The Birth of ‘Timbre’ and the musical legacy, many of us who study this period from a scholarly Rise of Instrumental Music” standpoint continue to be drawn to it as performers as well. For instance, last October saw the first production since 1700 of Thomas Irvine, Cornell University: “The Many Faces of Lully’s Le Carnaval Masquerade, in which graduate students from Mozart’s Viennese Chamber Music: Sources, Eastman and Cornell participated. Ideologies, Performance” Ultimately, eighteenth-century studies seems to attract Nancy November, Cornell University: “Haydn’s Vocality and scholars who are readily excited by the multi-faceted nature of the Ideal of ‘True’ String Quartets” music and culture of the time. Those of us forging our own early careers in musicology and/or performance may feel a particularly Andrew Talle, Harvard University: “J. S. Bach’s Keyboard pressing need for this work to be relevant to today’s world as well, Partitas and Their Early Audience” as we ask ourselves what sorts of career paths we would like to take and what sorts of legacies we would like to leave. Certainly, Marianne Tettlebaum, Cornell University: “Kant’s Noisy we are all drawn to our particular research topics for individual, Neighbors: The Experience of Music and Community deeply personal reasons, but these reasons are also grounded in a in the Critique of Judgment” feeling that this research does and must resonate with our own, Wiebke Thormahlen, Cornell University: “Between Art, twenty-first-century lives. Education and Entertainment: The String Quintet in Vienna and Paris, 1780–1820” Upcoming Conferences American Musicological Society (AMS) Annual Meeting, To have your disseration included in future issues of Seattle, November 11–14, 2004. www.ams-net.org/ the newsletter, please send your name, dissertation title, and seattle/ institution of affiliation to [email protected] for inclusion in this list. East-Central American Society for Eighteenth-Century Web Sites Studies (EC/ASECS) Annual Meeting: “The Musical Eighteenth Century,” Cape May, New Jersey, October An excellent source for scholarly eighteenth-century websites: 21–24, 2004. www.udel.edu/fllt/faculty/braun/ec.html www.bsecs.org.uk/links.htm 6 Musica Toscana…continued from page 1 the Hofkapelle by the Vienna Boys’ Choir with musicians from the Staatsoper and Philharmonic under the direction of Uwe The second volume is Debora e Sisara, a sacred opera by Christian Harrer. Pietro Alessandro Guglielmi, edited by Anthony DelDonna Mary Térey-Smith reports the release of her new CD in of Georgetown University and his Italian colleagues Eleonora May 2003 (“Syrens, Enchanters & Fairies: Eighteenth-Century Negri and Francesco Ermini Polacci. Unlike most operas of the Theatre Music from the London Stages,” Capella Savaria era, this work was performed continually for almost forty years Hungarian Baroque Orchestra, DOR-93251). The recording after its premiere in Naples in 1788. It was commissioned by contains eight overtures and a few incidental movements by Maria Carolina Hapsburg, the Queen of Naples, to justify to the lesser-known composers from the 1760s. Last October, Térey- public her increasing role in the government of her husband, King Smith directed the closing concert of the International Church Ferdinando IV. The story of the priestess, Deborah, was chosen Music Festival in Budapest, Hungary, featuring church music to demonstrate that women were as capable as men of leading by G. J. Werner, Haydn’s predecessor at the Esterházy family in the state, even in time of war. Deborah led the Israelites in a Eisenstadt. war for their liberation from the tyranny of the Canaanites under Laurel Zeiss reports two recent publications. Her article their general, Sisera. With the help of Jehovah, who crushed the “Words Susceptible to Music: Versi sciolti in Mozart’s Da Ponte Canaanites with a fierce hail storm, Sisera was defeated. He fled Operas” and her review of Antonio Salieri and Viennese Opera by the battle scene only to be killed by Jael, Deborah’s admirer, who John A. Rice and The Culture of Opera Buffa in Mozart’s Vienna: enticed him to rest in her tent. While he slept she drove a nail A Poetics of Entertainment by Mary Hunter both appear in Ars through his temple. Lyrica: The Journal of The Lyrica Society for Word-Music Relations The queen was dissatisfied with the 1788 version, and it was 13 (2003). re-written and performed again in Naples in 1789. A copy of the score and instrumental parts evidently copied for a performance New Members in 1790 in Pisa exists in the Anderson Music Library. Robert L. Weaver used this source to correct and fill in music missing from The membership of the Society for Eighteenth-Century the Neapolitan score. A presentation ceremony of Debora e Sisara Music is growing by leaps and bounds. We extend a warm took place in December 2003 at the Centro di Musica Antica in welcome to all new members: Rebecca Burkart, Craig Wright, Naples. Christoph Wolff, Andrew Kearns, Jen-yen Chen, Marie-Louise MTI invites the public to become sponsors of individual Catsalis, Jesper Nordin, Charles Price, Neal Zaslaw, Carl volumes of Monuments of Tuscan Music by contributing all or Wiltshire, Todd Decker, Jennifer Hambrick, Janet Page, Maria a major part of the publication costs of the volumes. Sponsors Rose, Edward Green, Harrison Slater, Stefano Mengozzi, Bella are recognized in the introductory pages and may dedicate the Brover-Lubovsky, Markus Rathey, Guido Olivieri, Arthur Searle, volume to whomever they wish. Sponsors of Selected Sacred Sarah Kelley, Philip Olleson, Vanessa Rogers, Lise Karin Özgen, Works and Debora e Sisara are The Rae and Lamar Weaver Sarah Day-O’Connell and Robert L. Weaver. and Margaret Westley Scholarship Fund and Mr. Robert and Mrs. Margaret Kulp respectively. Ms. Mimi Guarnieri will ECM Discount for SECM Members sponsor a forthcoming volume of keyboard concertos. For more information about MTI and the series please contact John P. Cambridge University Press will offer a discounted rate of Karr at [email protected] or Robert L. Weaver $26.00 for an annual subscription to the new journal Eighteenth- [email protected]. Century Music to members of the Society for Eighteenth-Century Music. This is a 20% discount on the individual subscription price of $32.00. To claim the discount members simply need to Members’ News indicate their SECM membership when contacting the Press. For more information please write to Joe Mottershead, Journals om Beghin’s new recording of C.P.E. Bach’s complete Editor, at [email protected]. “Pièces de caractère” was released in December 2003 (Eufoda 1347). The CD includes a PDF file with images by William Hogarth. T Call for Proposals: Mozart Society of Michael Kassler announces the publication of his book Music Entries at Stationers’ Hall, 1710–1818 (Oxon, UK: Ashgate, America 2004). Mark Knoll and Stephen Fisher have been appointed he Mozart Society of America, which will again hold its editors at the Packard Humanities Institute in Cambridge, MA, annual meeting in conjunction with the AMS meeting working on C. P. E. Bach: The Complete Works. in Seattle, seeks proposals for presentations at the study Jane Schatkin Hettrick’s edition and performance materials Tsession. The MSA welcomes abstracts dealing with any aspect of the Mass in D Minor (1805) by Antonio Salieri served for of Mozart’s life and work, or with the later-eighteenth-century the special high mass on Pentecost at the Schottenfeldkirche context that can illuminate that work, and seeks reports of studies in Vienna, 8 June 2003, conducted by Dr. Leopold Kantner. either completed or in progress. Send abstracts by June 10, 2004, Published in 2002 by A-R Editions, this edition made possible to Jane R. Stevens, 3084 Cranbrook Ct., La Jolla, CA 92037, or the first modern performance of Salieri’s Mass in Vienna, at e-mail to [email protected]. 7 Recent CDs of 18th-Century Music for 29 are 1801 (details from Chappell White’s Viotti catalogue). Despite our huge gratitude to Dynamic for this enterprise, one Tony Gable wonders if the punishing recording schedule best serves Viotti or the artists. Six concertos (5,6,9,15,17,23) were recorded on six LEYEL: Complete cello concertos (STRING CON- successive days in March 1999. No wonder that Mezzena often CERTOS Vol. 1 The Cello Concertos). Pèter Szabó vc sounds severely taxed or the orchestra under-rehearsed. However, and conductor, Erdödy Chamber Orchestra, Hungaroton our chances of hearing alternative recordings of these works are P2 CDs HCD 32067-8 slim. Naxos once extravagantly promised a complete series, but All praise to Hungaroton for their series of Pleyel string only 23 in G ever materialized. What a pity, for what a series! concertos. This first volume gives us the five extant cello Over a third are powerful, minor-key works, many others are concertos. A concerto in D (Ben 102) advertised by Breitkopf in expansive, serene and cleverly argued major-key works, some 1782-4 is lost. A second volume with the violin concerto (both known to Mozart and Beethoven whose own violin concerto versions) is promised. Three works here are completely new. The acknowledges Viotti. 22 needs no introduction, 24 may be other two have been recorded before: Ben 106 (1797) as a cello familiar from Kaplan’s recording and 28 is an endearing work, concerto or in Pleyel’s alternative versions for flute or clarinet; lyrical and muscular by turns. Ben 104 (c1788) as a clarinet concerto—possibly Gebauer’s HAYDN: Symphony 85, PLEYEL: Sinfonia concertante adaptation. Ben 105 (1790) was also issued as a viola concerto. in B flat, SÜSSMAYR: Symphony in C, MOZART: Dances Neither version has appeared before. Ben 104, 105, 106, 108 have from K571. Concilium musicum Wien, conductor Paul Angerer, been edited by Artaria's Allan Badley but were not apparently Cavalli Records CCD422; Dream of the Orient, Concerto Köln/ used for this recording. Hungaroton have stolen Naxos’s fire with Sarband, Archiv 474 193 these fine recordings. Ben 101(c1783) is a real gem, melodically More Pleyel turns up on a Cavalli disc: the B-flat Sinfonia very pleasing, but not the earliest of the concertos. That must be concertante for violin and viola (Ben 112). This new version with Ben 108, undated in Rita Benton’s catalogue. Despite the insert Paul and Christophe Angerer, despite authentic instruments, note’s claim that it is a late work, the musical evidence suggests is not in the same class as a 1979 recording, never transferred otherwise. It is surely the earliest Pleyel work ever to appear to CD, featuring Stern and Zukerman. But the athletic 26- on disc. An apprentice piece from his period with Haydn, it is minute symphony in C by Süssmayr may be a draw, despite over- rather four-square and not especially attractive, whereas Ben 105 prominent timpani. Haydn’s La Reine is also featured, and two (also for viola) is energetic, powerful and typical P!eyel of the Mozart dances. Has Süssmayr’s time come? His noisy Turkish late 1780s: clean, sometimes cliched themes, chunky orchestral symphony appears on Concerto Köln’s latest offering, alongside figures that are often dangerously sequence-like, of the sort authentic Turkish music of the same period and earlier, with more found in his symphonies. The concertos have singing adagios familiar pieces by Mozart, Gluck, and Kraus—rousing sounds on reminiscent of Mozart in the 1770s. Some say that Pleyel’s talent a politically correct disc. seriously waned after 1790, but that is not the case with Ben 106 If you have problems finding a distributor for any of the of 1797, which is fresh and strong. Nor is it the view of Matthias above, you can e-mail JPC in Germany at: [email protected] or try Bamert who chose three later Pleyel symphonies (1791-1804) for their website: www.jpc.de. his splendid disc in the Contemporaries of Mozart series. My sole grouse about this timely pair of finely performed discs concerns the cadenzas, which are overlong and unsuitable. The otherwise …continued from page 2 treasurable 5-CD Avenira set of Saint Georges concertos and Rosetti concertantes was similarly vitiated. locations, including the residential palace in Oettingen, an VIOTTI: Violin concertos 22 in a, 24 in b, 28 in a open-air concert at the “Bastei” of the historic Nördlingen city (COMPLETE VIOLIN CONCERTOS, Volume 9). Franco walls, the Wallerstein parish church, the castle of Count Schenk Mezzena, soloist and conductor, Symphonia Perusina, Dynamic zu Stauffenberg in Amerdingen and Schloss Baldern, in which CDS 425 the closing orchestral concert will take place. Exact contemporaries, Pleyel and Viotti both came to London This year primarily German and Swiss musicians will in the early 1790s. They are further linked by an error in Benton’s be featured in the Rosetti Festival. Included in this group are Pleyel catalogue attributing a Viotti sinfonia concertante to Pleyel the south German Wind Soloists with the pianist Birgitta (Benton 116). Franco Mezzena’s gruelling odyssey is nearing its Wollenweber, the Swiss Wind Ensemble, the Ensemble Classique end. Volume 9, the penultimate in his survey of Votti’s 29 violin with Erik Wiese, solo flutist of the Bavarian State Opera, the concertos, leaves only 21 and 29. Let’s hope they are not coupled young Swiss Auris String Quartet, Musica Instrumentalis of with the spurious cello concerto. As before, volume 9 contains Schwerin, and the Kurpfälzische Chamber Orchestra Mannheim three concertos - three masterpieces from the final ten that Viotti under the direction of Johannes Moesus and featuring as soloists wrote for London c1792-c1805. Far and away his most famous the violinist Anton Steck and the first prize winner of the Fourth work, no. 22 found favor with Brahms. Many great virtuosos International J.-M.-Sperger Competition for Double Bass have taken it up: Menuhin, Grumiaux and Perlman. Fine versions (2004). include that by Wallfisch on Hyperion, and Bobesco’s, with 23. The full program and further information about the festival Kaplan’s excellent disc of 22 and 24 curiously adds a cut version are available from the Internationalen Rosetti-Gesellschaft, of 4. 28 is a first recording; it may well be Viotti’s last concerto Günther Grünsteudel, Nebelhornstraße 1, D-86391 Stadtbergen as the autograph watermarks are 1803 and 1804 whereas those (e-mail: [email protected]). 8