DOCSLIB.ORG

Music and Power in the Baroque Era

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music and Power in the Baroque Era CONVEGNO INTERNAZIONALE MUSIC AND POWER IN THE BAROQUE ERA Lucca, Complesso Monumentale di San Micheletto 11-13 November 2016 CENTRO STUDI OPERA OMNIA LUIGI BOccHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND POWER IN THE BAROQUE ERA Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Lucca, Complesso Monumentale di San Micheletto 11-13 November 2016 ef PROGRAMME COMMITTEE ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) LUCA LÉVI SALA (New York, NY) ef KEYNOTE SPEAKER RUDOLF RASCH (Utrecht University) REINHARD STROHM (University of Oxford) FRIDAY 11 NOVEMBER 9.00-9.30: Registration and Welcome Opening 9.30-9.45 FULVIA MORABITO (President Centro Studi Opera Omnia Luigi Boccherini) Music and Power in European Courts 10.00-12.30 (Chair: Reinhard Strohm, Oxford University) • Helen Coffey (Open University, Milton Keynes, UK), Opera for the House of Brunswick- Lüneburg: Musical and Dynastic Connections during the Late Seventeenth Century • I sobel C larke (Royal College of Music, London), Samuel Pepys and his Musical Manservant: Power, Patronage and the Popish Plot • CHeryll DunCan (Royal Northern College of Music, Manchester), «Your Orator […] Hath for Many Years Studied and Practised the Composing of Musick»: The Royal Licence as an Early form of Music Copyright Protection • alessanDra PalIDDa (Cardiff University), «Rediviva sub optimo principe hilaritas publica»: Music, Consensus and Celebration in Hapsburg Milan • anna GIust (Pordenone), Dalla corte al teatro: l’opera italiana in Russia ai tempi di Elisaveta Petrovna (1741-1762) (con uno sguardo al regno di Caterina II) ef 13.00 Lunch 15.00-16.00 – Keynote Speaker 1 RUDOLF RASCH (Utrecht University): Composers, Patrons and Dedications ef Music and Patronage: Composers, Musicians and their Status 16.30-19.30 (Chair: Roberto Illiano, Centro Studi Opera Omnia Luigi Boccherini) • beneDetta saGlIettI (Università di Torino), Status sociale e percezione di sé dei musicisti professionisti germanofoni letti attraverso documenti autobiografici delXVIII secolo • MarIateresa Dellaborra (Conservatorio ‘G. Nicolini’, Piacenza), La carriera di Giovanni Antonio Cavagna e i suoi rapporti con casa Nemours-Colonna. Nuove fonti • GuIDo VIVerIt (Padova), Giuseppe Tartini e l’aristocrazia: la formazione di violinisti per le corti europee e per i mecenati privati • rICHarD erkens (Istituto Storico Germanico, Roma), Between Stage and Notary’s Office. Giuseppe Polvini Faliconti: A Civil Impresario in Rome • MarIaCarla De GIorGI (Università del Salento), «Oltre Metastasio»: Gender Opera, Arcadian Ideals and “Women in Power” in the Eighteenth-Century Europe • LORENZO ANCILLOTTI (Université Paris IV-Sorbonne), Musica e fermenti culturali presso la Basilica della Santissima Annunziata di Firenze intorno al 1650 SATURDAY 12 NOVEMBER Occasional and Celebrative Music 9.00-11.00 (Chair: Rudolf Rasch, Utrecht University) • alex robInson (Université Paris IV-Sorbonne), Music and Politics in the Entry of Maria de’ Medici into Avignon in 1600 • MICHael klaPer (Institut für Musikwissenschaft Weimar-Jena), «La più bella festa, che in teatro serrato, si sia veduta in Firenze» – Francesco Cavalli compone per la corte medicea • aDrIana De feo (Salzburg), I libretti encomiastici di Giovanni Andrea Moniglia per le corti di Firenze, Vienna e Dresda • sIMone CIolfI (Saint Mary’s College, Rome-Notre Dame, IN), Musica e fasto nelle cerimonie di laurea del Seicento romano ef Music at the Court of Louis XIV 11.30-13.00 (Chair: Rudolf Rasch, Utrecht University) • JEAN DURON (Centre de musique baroque de Versailles), L’invenzione di una musica sovrana: la corte di Luigi XIV • MaGorzata lIseCka (Nicolaus Copernicus University, Toruń, Poland), «Phaéton» of Quinault and Lully as the Rhetorical Message on the Absolute Strategy of Power • antonIa l. banDuCCI (University of Denver, CO), Opera Troupe’s Power on the Invention of a Genre: Jean-Baptiste Lully’s Académie Royale de Musique ef 13.00 Lunch 15.00-16.00 – Keynote Speaker 2 REINHARD STROHM (Oxford University): Emblems and Problems of Rulership in Baroque Opera ef Music, Propaganda and Politics 16.30-19.00 (Chair: Fulvia Morabito, Centro Studi Opera Omnia Luigi Boccherini) • ben byraM-WIGfIelD (Open University, Milton Keynes, UK), Nowhere to Run: How the Fortunes of War Brought the Mantuan Opera Company to Venice • robert G. raWson (Canterbury Christ Church University, UK) «Come to the Mother and You, o Cowardly Nations, Will Defeat the Rebels» – Music, Symbol and the 1683 Siege of Vienna • DIANA BLICHMANN (Roma), La rappresentazione dell’«Alessandro nell’Indie» (Lisbona 1755) – potere storico e propaganda politica alla corte dei monarchi portoghesi • ValentIna anzanI (Università di Bologna), Al servizio dell’Elettore Palatino Johann Wilhelm (1690-1716): musici informatori segreti e un controverso caso di immunità diplomatica • bruCe P. Gleason (University of St. Thomas, St. Paul, MN), European Cavalry and Court Kettledrummers and Trumpeters: 1600-1750 SUNDAY 13 NOVEMBER Music and Patronage: Patrons and Noble Families 9.30-11.30 (Chair: Reinhard Strohm, Oxford University) • Jana frankoVá (Institut de Recherche en Musicologie – IreMus, Paris), Wenzl Anton von Kaunitz-Rietberg and his Grand Tour – A Source to his Future Musical Patronage? • naoMI MatsuMoto (Goldsmiths College, University of London), Pio Enea degli Obizzi (1592-1674): Power and Authorship • kateryna IelysIeIeVa (Kiev College of Culture and Art), Count and Ukranian Cozak Alexey Razumovsky and the Music Life at the Court of Russian Empress Elizaveta Petrovna • naoMI J. barker (Open University, Milton Keynes, UK), Silencing Bees and Inflaming Llove: The Emblems in Frescobaldi’s «Primo libro d’arie musicali» (1630) 12.00-13.00 (Chair: Massimiliano Sala, Centro Studi Opera Omnia Luigi Boccherini) • DaVIDe MInGozzI (Genova), «Un’opera per i “signori dilettanti”». Ricognizione storico-filologica sul «Nuovo don Chisciotte» di Francesco Bianchi • olGa JesuruM (Roma), Teatro e scenografia nella Roma del Settecento: i soggiorni romani di Francesco Galli Bibiena ef 13.00 Lunch Music and Clerical Power 15.00-17.00 (Chair: Fulvia Morabito, Centro Studi Opera Omnia Luigi Boccherini) • CHIara PellICCIa (Istituto Storico Germanico, Roma), Le cantate natalizie per il palazzo apostolico tra pace europea e «guerra santa»: la politica “antiturca” di Innocenzo XI (1676- 1689) e l’origine di una tradizione musicale • anGela fIore (Université de Fribourg), Musica, potere e devozione: le celebrazioni del «Corpus Domini» a Napoli fra XVII e XVIII secolo • elena abbaDo (Università degli Studi di Firenze), L’oratorio a Firenze tra Sei e Settecento attraverso le carte del Sant’Uffizio • DaVID lee (University of Glasgow), A New Song: The Work of Men’s Hands: The Act of Composition and Early Modern Lutheranism ABSTRACTS Keynotes Speakers Rudolf Rasch (Utrecht University) Composers, Patrons and Dedications During the sixteenth to the eighteenth centuries composers usually accompanied the publications of their music with a dedication to a patron. The dedication is mentioned on the title page and often supported by a letter of dedication printed on a separate page following the title page. The breadth of this phenomenon indicates that it had a specific and important function. Indeed, the identities of the dedicatees and the contents of the letters of dedication indicate that the dedication served to establish a position of importance for the publication and therefore for the composer within his social and political environment. Among the dedicatees we find royalty, nobility, clergy, institutions, bourgeoisie, friends, and so forth. The letters of dedications appear to follow a clearly recognizable rhetorical pattern. The dedications of the publications of five Italian ‘Baroque’ composers – Corelli, Albinoni, Vivaldi, Geminiani, Locatelli – will be discussed in detail. It will be shown that their letters of dedications closely follow the general rules for such texts and that the choice of the dedicatees clearly reflects the social and political contexts in which they worked, the main axis being the opposition between republican and monarchal environments. Reinhard Strohm (Oxford University) Emblems and Problems of Rulership in Baroque Opera Researchers of early opera often follow the lead of art and literary historians in attempting to decipher the signs (emblems, allegories, metaphors) embedded in this multi-medial language. There is a notable desire to “unmask” early opera, to discover its emblems of rulership and to reveal its political meanings – much more than is done with classical, romantic and modern opera. The critical theory underlying this approach (which Paul Ricoeur dubbed the “school of suspicion”) may have led researchers to simplify and de-historicise the problem of representation. For one thing, the baroque art-works would not have functioned in their contexts as efficiently as they did had their hidden messages been the single one of power. For another, the temporal shifts and contradictions of political representation may have been underrated. In attempting to decipher emblems and allegories in early art, we need to understand the fluctuating expectations of its contemporary audiences. A typical problem for further research is the tendency of early operas and dramas to present royal disasters and other problems of rulership. Apart from a straightforward interpretation “ex negativo”, contemporary
Load more

Recommended publications
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • Keyboard Music Is
    Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe David Schulenberg (2004, updated 2021) Keyboard music is central to our understanding of the Baroque, particularly in northern Europe, whose great church organs were among the technological and artistic wonders of the age. This essay treats of the distinctive traditions of keyboard music in Germany, Austria, and the Netherlands before the time of Johann Sebastian Bach and other eighteenth-century musicians. Baroque keyboard music followed in a continuous tradition that of the sixteenth century, when for the first time major composers such as William Byrd (1543–1623) in England and Andrea Gabrieli (ca. 1510–1586) in Italy had created repertories of original keyboard music equal in stature to their contributions in other genres. Such compositions joined improvised music and arrangements of vocal and instrumental works as the foundations of keyboard players' repertories. Nevertheless, the actual practice of keyboard players during the Baroque continued to comprise much improvisation. Keyboard players routinely accompanied other musicians, providing what is called the basso continuo through the improvised realization of a figured bass.1 On the relatively rare occasions when solo keyboard music was heard in public, it often took the form of improvised preludes and fantasias, as in church services and the occasional public organ recital. Hence, much of the Baroque repertory of written compositions for solo keyboard instruments consists of idealized improvisations. The capacity of keyboard instruments for self-sufficient polyphonic playing also made them uniquely suited for the teaching and study of composition. Thus a second large category of seventeenth-century keyboard music comprises models for good composition, especially in learned, if somewhat archaic, styles of counterpoint.
    [Show full text]
  • Komponisten 1618Caccini
    © Albert Gier (UNIV. BAMBERG), NOVEMBER 2003 KOMPONISTEN 1618CACCINI LORENZO BIANCONI, Giulio Caccini e il manierismo musicale, Chigiana 25 (1968), S. 21-38 1633PERI HOWARD MAYER BROWN, Music – How Opera Began: An Introduction to Jacopo Peri´s Euridice (1600), in: The Late Italian Renaissance 1525-1630, hrsg. von ERIC COCHRANE, London: Macmillan 1970, S. 401-443 WILLIAM V. PORTER, Peri and Corsi´s Dafne: Some New Discoveries and Observations, Journal of the American Musicological Society 17 (1975), S. 170-196 OBIZZI P. PETROBELLI, L’ “Ermonia“ di Pio Enea degli Obizzi ed i primi spettacoli d´opera veneziani, Quaderni della Rassegna musicale 3 (1966), S. 125-141 1643MONTEVERDI ANNA AMALIE ABERT, Claudio Monteverdi und das musikalische Drama, Lippstadt: Kistner & Siegel & Co. 1954 Claudio Monteverdi und die Folgen. Bericht über das Internationale Symposium Detmold 1993, hrsg. von SILKE LEOPOLD und JOACHIM STEINHEUER, Kassel – Basel – London – New York – Prag: Bärenreiter 1998, 497 S. Der Band gliedert sich in zwei Teile: Quellen der Monteverdi-Rezeption in Europa (8 Beiträge) sowie Monteverdi und seine Zeitgenossen (15 Beiträge); hier sollen nur jene Studien vorgestellt werden, in denen Libretto und Oper eine Rolle spielen: H. SEIFERT, Monteverdi und die Habsburger (S. 77-91) [faßt alle bekannten Fakten zusammen und fragt abschließend (S. 91) nach möglichen Einflüssen Monteverdis auf das Wiener Opernschaffen]. – A. SZWEYKOWSKA, Monteverdi in Polen (S. 93-104) [um 1600 wirken in Polen zahlreiche italienische Musiker, vor allem in der königlichen Hofkapelle; Monteverdi lernte den künftigen König Wladyslaw IV. 1625 in Venedig kennen. Marco Scacchi, der Leiter der Kapelle, deren Mitglieder auch drammi per musica komponierten (vgl.
    [Show full text]
  • Don Giovanni Opera Box Lesson Plan Title Page with Related Academic Standards
    Opera Box 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases).
    [Show full text]
  • Opera, Ball and Spoken Theatre at the Royal Palace of Caserta
    Lucio Tufano Opera, Ball and Spoken Theatre at the Royal Palace of Caserta I. The royal palace of Caserta was one of the most important artistic expressions of the new political course impressed on Southern Italy by Charles of Bourbon. Having ascended to the throne in 1735, Charles restored to the Two Sicilies the rank of kingdom after centuries of its subjection to foreign rule. Soon thereafter he also committed himself to enhancing his public image through a wide ranging architectural program, so as to translate his power into visible, magnificent signs (another example of this effort is the Teatro di San Carlo in Naples, which he conceived of as one of the largest operatic stages in Europe). The project for Caserta was designed by the famous architect Luigi Vanvitelli; the construction, started in 1752, went on for several decades, well beyond the departure of Charles (who in 1759 left Naples to be crowned King of Spain as Charles III) and Vanvitelli’s death (1773). The site chosen for the building, at a distance of about 35 kilometres from Naples, was located in a beautiful country area, fully immersed in nature; nowadays its surroundings are very different because of a chaotic urban development that strongly contradicts the native at- mosphere. Commissioned and financed by Charles, the Caserta palace was in fact inhabited by his son Ferdinand IV and his wife Maria Carolina of Austria, daughter of Maria Theresa, whom he married in 1768. Vanvitelli carried out an expansive architectural plan,1 with four courtyards, 1,200 rooms, a chapel,2 and a wonderful garden with an artificial waterfall.
    [Show full text]
  • Small-Scale Opera: History and Continuing Relevance in the 21St Century
    SMALL-SCALE OPERA: HISTORY AND CONTINUING RELEVANCE IN THE 21ST CENTURY Joel B. Trisel A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2015 Committee: Katherine Meizel, Advisor Christopher Scholl Kevin Bylsma ii ABSTRACT Katherine Meizel, Advisor This paper explores the history and recent rise in popularity of small-scale opera. Small- scale opera, originally referred to as chamber opera, and recently referred to as “Micro-opera”, “NANOWorks”, et cetera, has gained popularity in the past forty years due to artistic and financial reasons. The genre reflects the need for companies to find financially viable ways to continue to produce and perform classical music in a poor economic climate. The short length and relatively simple plots of the works in this genre also reflect the shift in media consumption on a broad level in the United States. While the genre is growing in popularity today, it has ties to historical practices, including some of the first documented operas written in the Baroque period. This paper provides a historical account of iterations of small-scale opera and culminates in interviews with professionals working in the field today. Through my research, I conclude that the genre is likely to succeed in the 21st century. This is due to the financial viability small-scale opera affords to both those producing and attending these works. Small-scale opera provides composers with a flexible medium in which they can explore writing sung drama that is substantially more likely to be produced than full-length works.
    [Show full text]
  • W W W . F U E R S T E N F E L D
    www.fuerstenfelder-orgelkonzerte.de Sehr geehrte Konzertbesucher! Im vorliegenden Jahresprogramm für 2018 finden Sie erneut einige Überraschungen, etwa bei der Ostermatinée die seltene Kombination von Alphorn und Orgel. Beim Orgelsommer wird der berühmte Improvisator Wolfgang Seifen unser Gast sein und beim beliebten Silvesterkonzert erleben Sie den ECHO-Preisträger Prof. Koryun Asatryan am Saxophon. Unsere Marienorgel, im Jahr 1948 gestiftet, begeht ihren 70. Geburtstag und wird dieses Jahr öfter im Konzert erklingen. Ebenfalls 70 Jahre alt wäre der 2015 verstorbene langjährige Organist der Klosterkirche, Roland Muhr, geworden, dem zu seinem runden Geburtstag eine Gedenkmatinée mit seinen musikalischen Weggefährten gewidmet ist. Die ökumenische Zusammenkunft der Brucker Kirchenchöre wird weiter fortgesetzt mit einer Aufführung von Dvořáks „Messe in D“ und weiteren prachtvollen Chorwerken. Die historische Fux-Orgel wurde im vergangenen Herbst einer fachmännischen Sichtung unterzogen, denn sanierende und erhaltende Maßnahmen sind dringend geboten! Dabei stellte sich heraus, dass weit mehr der vorhandenen Substanz aus der Vorgängerorgel von ca. 1629 stammt, als gedacht. Eine ungeheure Überraschung! Jetzt wird ein Maßnahmenkatalog erstellt und entschieden, wann die Restaurierung beginnen kann. Herzlich, Ihr Christoph Hauser Die Fürstenfelder Orgelmatinéen beginnen jeweils um 12:10 Uhr – nach der Sonntagsmesse – und dauern etwa 45, im Advent 30 Minuten. Mit Ausnahme der Oratorien-, Silvester- und Neujahrskonzerte finden alle Orgelkonzerte bei freiem Eintritt statt. Dies ist nur mit finanzieller Unterstützung der Besucher durchführbar. Deshalb bitten wir Sie am Ausgang um Ihren großzügigen Beitrag. Eintrittskarten sind bei allen MünchenTicket Verkaufsstellen erhältlich.. KONZERTÜBERSICHT 2018 F = Fux-Orgel M = Marienorgel ORATORIUM (25 / 20 €, Vorverkauf bei MünchenTicket) SA 21.7. 16:00 Dvořák: Messe in D, Hayes: Magnificat, Franck: Psalm 150 OSTERMATINÉE Solisten, Ökumenischer Oratorienchor Fürstenfeld Kammerorchester Dieter Sauer MO 2.4.
    [Show full text]
  • Vocabulaire De La Musique Vocale Joëlle-Elmyre Doussot
    MINERVE Vocabulaire de la musique vocale Joëlle-Elmyre Doussot 256 pages format : 150 x 210 prix TTC : 23 euros EAN : 9782869311312 Collection « Musique ouverte » Parution : 18 mai 2012 Avec l’engouement que connaît aujourd’hui le chant, et son essor dans les lieux d’enseignement depuis plusieurs années, la série des « vocabulaire » se devait d’offrir un volume sur ce thème. 1) Caractéristiques générales : Comme les autres volumes de la série, celui-ci se présente non pas comme un dictionnaire à proprement parler, mais plutôt comme une encyclopédie, où sont recensés, analysés, parfois illustrés, les principaux termes relatifs à ce domaine musical. Le classement est alphabétique. 2) Délimitation du contenu : – Entre 400 et 500 termes ont été sélectionnés (cf plus bas), c’est-à-dire bien davantage que dans les vocabulaires précédents. C’est dire que ce volume sans être exhaustif, bien sûr, est particulièrement complet – La période considérée va du Moyen Âge à l’époque contemporaine. – Les termes concernent la musique vocale aussi bien profane que religieuse, et même parfois populaire, avec plusieurs dizaines de rubriques touchant la chanson folklorique, la comédie musicale, etc., au sein du monde occidental. MINERVE 3) Thème des rubriques : Les rubriques portent principalement sur : – Les genres musicaux chantés : chanson, cantate, choral, messe, opéra, Lied, etc. – Les interprètes : chantre, castrat, cantatrice... – Les différents registres de voix : soprano, contralto... – Les techniques vocales et les ornements : articulation, bel canto, roulade, trille... – Les théories esthétiques : ars nova, enseignement, réforme gluckiste... 4) Structure des rubriques : – Chaque rubrique propose une définition de la notion traitée. – Est retracée son évolution depuis son apparition jusqu’à la période moderne si elle a survécu.
    [Show full text]
  • Cremona Baroque Music 2018
    Musicology and Cultural Heritage Department Pavia University Cremona Baroque Music 2018 18th Biennial International Conference on Baroque Music A Programme and Abstracts of Papers Read at the 18th Biennial International Conference on Baroque Music Crossing Borders: Music, Musicians and Instruments 1550–1750 10–15 July 2018 Palazzo Trecchi, Cremona Teatro Bibiena, Mantua B Crossing Borders: Music, Musicians and Instruments And here you all are from thirty-one countries, one of Welcome to Cremona, the city of Monteverdi, Amati and the largest crowds in the whole history of the Biennial Stradivari. Welcome with your own identity, to share your International Conference on Baroque Music! knowledge on all the aspects of Baroque music. And as we More then ever borders are the talk of the day. When we do this, let’s remember that crossing borders is the very left Canterbury in 2016, the United Kingdom had just voted essence of every cultural transformation. for Brexit. Since then Europe—including Italy— has been It has been an honour to serve as chair of this international challenged by migration, attempting to mediate between community. My warmest gratitude to all those, including humanitarian efforts and economic interests. Nationalist the Programme Committee, who have contributed time, and populist slogans reverberate across Europe, advocating money and energy to make this conference run so smoothly. barriers and separation as a possible panacea to socio- Enjoy the scholarly debate, the fantastic concerts and political issues. Nevertheless, we still want to call ourselves excursions. Enjoy the monuments, the food and wine. European, as well as Italian, German, French, Spanish, And above all, Enjoy the people! English etc.
    [Show full text]
  • TRACING OPERATIC PERFORMANCES in the LONG NINETEENTH CENTURY Practices, Performers, Peripheries
    9 DocMus Research Publications TRACING OPERATIC PERFORMANCES IN THE LONG NINETEENTH CENTURY Practices, Performers, Peripheries Edited by Anne Kauppala, Ulla-Britta Broman-Kananen and Jens Hesselager 9 DocMus Research Publications ULLA-BRITTA BROMAN-KANANEN is a university HANNELE KETOMÄKI received her Doctor of Music degree researcher at the Sibelius Academy (University of the Arts from the Sibelius Academy in 2012. Her study examines Helsinki). In 2010–2013 she worked on the project “The Oskar Merikanto's national ideals and his activities in the Finnish Opera Company (1873–1879) from a Microhistorical music festivals by the Finnish Kansanvalistusseura. She Perspective: Performance Practices, Multiple Narrations is the manager of Academic Development at the Sibelius and Polyphony of Voice”, and later in “Opera on the Move: Academy (University of the Arts Helsinki). Transnational Practices and Touring Artists in the Long 19th Century Norden”. HILARY PORISS is Associate Dean of Academic and Faculty Affairs, and Associate Professor of Music in the College of GÖRAN GADEMAN has been since 2006 the dramaturgist Arts, Media and Design at Northeastern University. Her and casting coordinator and since 2007 associate professor research interests include the 19th-century Italian and French at the Gothenburg Opera. In his doctoral thesis he studied re- opera performance culture and aesthetics. She has authored alism and opera (Realismen på Operan, Stockholm University, Changing the Score: Arias, Prima Donnas, and the Authority 1996). His book Operabögar (Gay Opera Lovers) appeared in of Performance (2009) and co-edited Fashions and Legacies 2004. He also contributed to the New Swedish Theatre History of Nineteenth-Century Italian Opera (2010) and The Arts of (2007).
    [Show full text]
  • 573488 Bk Haydn EU
    HAYDN Opera Overtures Armida • Lo speziale Le pescatrici Philemon und Baucis Il mondo della luna La vera costanza Orlando Paladino Czech Chamber Philharmonic Orchestra Pardubice Michael Halász 1 Lo speziale (The Apothecary) ^ Il mondo della luna (Life on the Moon) Franz Joseph Haydn (1732-1809) – Dramma giocoso: – Opera buffa: Sinfonia, Hob.Ia:10 (1768) 6:11 Sinfonia, Hob.XXVIII:7 (1777) 3:53 Opera Overtures Along with Mozart and Beethoven, Haydn is perhaps the time, he attracted the attention of the legendary poet and Acide e Galatea (Acis and Galatea) L’isola disabitata (The Uninhabited Island) most famous composer of the Classical era, but not all of librettist Pietro Metastasio, through whom he met yet – Festa teatrale: – Opera (Azione teatrale): his oeuvre is equally well known. Certain works – such as another famous Italian, the composer Nicola Porpora, Sinfonia, Hob.Ia:5 (1762) 6:39 Overture, Hob.Ia:13 (1779) 7:38 the ‘Surprise’ Symphony or The Creation – have tended who helped him improve still further. 2 Allegro molto 2:17 & Largo 1:35 to overshadow less familiar pieces, such as his opera Haydn’s reputation grew steadily, and he 3 Andante grazioso 2:50 * Vivace assai 2:57 overtures. occasionally worked at the Viennese court and for various 4 Finale. Presto 1:32 ( Allegretto 2:34 Born in Rohrau, Austria, on 31st March 1732, Haydn other aristocratic patrons. Meanwhile his compositions ) Vivace 0:32 showed musical promise from an early age. Although his were also meeting with success. Finally, in 1757, he 5 Le pescatrici (The Fisherwomen) parents were enthusiastic about music, neither of them obtained full-time employment as a Kapellmeister with – Dramma giocoso: La vera costanza (True Constancy) was a professional musician, so when Haydn was nearly Count Morzin.
    [Show full text]
  • The Harpsichord: a Research and Information Guide
    THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. Among the many friends who provided support and encouragement are Clara, Carmen, Cibele and Marcelo, Hilda, Iker, James and Diana, Kydalla, Lynn, Maria-Carmen, Réjean, Vivian, and Yolo.
    [Show full text]