The Newsletter of the Society for Seventeenth-Century Music Vol. 21, No. 2, Spring 2012

AMS 2011: A Tasting Menu by Virginia Christy Lamothe

an Francisco is a city that reflects a provided an exciting setting for the seventy- provide a taste of the exciting goods on confluence of cultures, especially in seventh annual meeting of the American offer in San Francisco. Smusic. The 1920s saw the beginnings Musicological Society, November 10–13, On Thursday afternoon, a session of the city’s first opera company, now the 2011. Presentations capturing the diversity dedicated to French music included a second largest in North America. In the of seventeenth-century music and scholarly presentation by Rebekah Ahrendt that 1960s, the City (as it is known in the Bay approaches to it were heard throughout offered a unique view of the “chanson à Area) became a hub for counter-cultural the conference. Continuing a recent trend danser” as a vehicle for acting out different music of the “hippie” generation. Today toward avoidance of chronological “ghet- social classes through speech, music, and music from around the world in every tos” in favor of topic-based, mixed-period dance. That evening, a panel sponsored genre can be heard at historic venues, sessions, the papers relevant to the Society by the Committee on Women and Gender including the Fillmore, the Great American were scattered throughout the program, investigated conformity in aspects of gender, Music Hall, the Palace of Fine Arts, and the often appearing in simultaneous sessions. racial, and class differences. On this panel, War Memorial Opera House. San Francisco Unavoidably, then, this report can only continued on page 16

Concert Review In This Issue . . . A Performance of Biblical Proportions News of the Society by Reba Wissner President’s Message...... 2 Audiences in the Boston area were treated to a perfor- 2012 Conference Schedule...... 6 mance of Marc-Antoine Charpentier’s rarely heard David Informal Business Meeting Minutes. .8 et Jonathas. The sacred opera was the first full-length Election Results ...... 9 performance by the fledgling early opera company Travel Grant Recipients...... 11 Helios, a group formed in fall 2011 and involving Membership Directory ...... 18 some of the SSCM’s own members, including Rebekah Reports and Reviews Ahrendt playing viol. The ensemble was directed by Zoe Giasone at Le Poisson Rouge...... 3 Weiss and Dylan Sauerwald, both of whom also edited International Heinrich Schütz . . . .4 the work for performance. The crowd was diverse, Festival filled with local conservatory and college students, Re-Creation: Musical Reception Boston-area musicologists, and early opera lovers of of Classical Antiquity...... 5 all ages. Though the work was mounted in the First Revisiting Atys...Again...... 10 Church of Cambridge near Harvard University, the Conference Announcements building’s acoustics suited the piece well, highlighting SSCM 2013 in Columbus ...... 12 several wonderful a cappella moments and enhancing Calls for Papers or Manuscripts. . . 12 Gottfried Bernhard Göz (1708-74) the detail of the fine singing and playing. Jonathan Greeting David Members’ News...... 14 continued on page 17

Vol. 21, No. 2 17th-Century Music u 1 Seventeenth-Century Music is the semi-annual President’s Message newsletter of the Society for Seventeenth-Century t the Society’s November 2002 business meeting, President Music. In addition to news of the Society, its Margaret Murata presented a formal proposal that had members, and conferences, the Newsletter been in preparation for two years: the formation of a reports on related conferences, musical A performances, research resources, and grant Web Library of Seventeenth-Century Music. After lively discus- opportunities. Please send inquiries or material sion and unanimous approval, she declared the Web Library a for consideration to the incoming editor: reality and announced the appointment of Alexander Silbiger Allen Scott as the first “librarian of the WLSCM.” Since then, we have seen Department of Music the publication of twenty-two peer-reviewed editions under his Olahoma State University expert direction. Several of them have served for successful profes- 132 Seretean Center sional performances. As the projects have grown in number and Stillwater, OK 74078-4077 Phone: (405) 744-2353 complexity, the Web Library staff has grown as well, and their Fax: (405) 744-9324 titles have changed to reflect reality: no longer “librarian,” no E-mail: [email protected] longer “general editor,” Lex is currently editor-in-chief. Now, nearly a decade after the Please note that information for the next venture began, he has announced his intention to step down at the end of the New issue must be submitted by August 15, 2012. York conference. Bravo, Lex, and thank you! Thanks also to Janette Tilley, current Editor associate editor, who will take Lex’s place. May the Web Library continue to grow and Roger Freitas prosper under her leadership. As I write, Barbara Hanning is putting the final touches on local arrangements for Assistant Editor the spring conference at the Metropolitan Museum of Art in New York. Being hosted Sarah Williams by a major museum rather than a university department creates special challenges (e.g., inflexible daily hours) but special opportunities as well. Barbara has worked closely with Associate Editors Beth Glixon Georgia Cowart, our liaison to the Department of Musical Instruments, and with our Colleen Reardon hosts to create what promises to be a truly memorable event. Moreover, the membership rose to the challenge: the Program Committee, chaired by Shirley Thompson, received Corresponding Members an unusually large number of excellent proposals on iconographic topics, a situation Michael Klaper (2010–2013) reflected in the final program. See Shirley’s report, elsewhere in this issue, for more Europe on the proposals received. [email protected] This will be my final presidential message. At the end of the spring conference, the Kimberly Parke (2011–2013) 2009–12 Governing Board will complete its term. Congratulations and welcome to the Australasia 2012–15 Governing Board: Stewart Carter, Amanda Eubanks Winkler, Andrew Weaver, [email protected] Christine Getz, and Gregory Johnston. Welcome and thanks to two new editors: in addition to Janette Tilley for WLSCM, Allen Scott for this Newsletter. Finally, I offer The Society for Seventeenth-Century Music is a learned society dedicated to the study and heartfelt thanks to all those who have contributed to the Society’s well-being during the performance of music of the seventeenth past three years: my fellow board members, Kimberlyn Montford, Antonia Banducci, century. Susan Lewis Hammond, and Gregory Johnston; the editors of our publications, Bruce Gustafson, Kelley Harness, Alexander Silbiger, and Roger Freitas, along with all associ- Governing Board (2009-2012) ate editors, corresponding members, and editorial board members; the Nominating Lois Rosow, president Committee, chaired by Candace Bailey; the three Program Committees, chaired by Ohio State University Mauro Calcagno, John Hajdu Heyer, and Shirley Thompson; the local conference Kimberlyn Montford, vice president organizers, Gregory Barnett, Kelley Harness, Barbara Hanning, and Georgia Cowart; Trinity University the book exhibit manager, Thomas Dunn; the web manager, Margaret Murata, and her Susan Lewis Hammond, treasurer fellow listserv manager, Darwin Scott; the three Travel Grant Committees, all chaired University of Victoria by Kimberlyn Montford; the ad hoc committee on JSCM publication arrangements, chaired by Jeffrey Kurtzman; and finally, every member who has read a paper, chaired Antonia Banducci, secretary University of Denver a session, proposed an idea, contributed an article or column, or spoken at a meeting. I am honored to have served as your president. Gregory S. Johnston, chair American Heinrich Schütz Society, Lois Rosow University of Toronto [email protected]

Honorary Members Stephen Bonta Barbara Russano Hanning Jeffrey Kurtzman Alfred Mann† Anne Schnoebelen Alexander Silbiger Pieter Claesz, Still- Kerala Snyder Life with Musical Instruments (1623), Louvre Museum

2 u Vol. 21 No. 2 17th-Century Music Concert Review In sTITutional Giasone at Le Poisson Rouge Members New York City; September 2, 2011 The Society for Seventeenth Century Music by Thomas Lin thanks the following institutions for their membership in 2011: One of the main reasons for Giasone’s enduring popularity during the seventeenth Amherst College century, beyond Cavalli’s music, was Cicognini’s mixture of high drama and comic Brandeis University levity (which would later be condemned by the Arcadians as inappropriate). The Brigham Young University opera provides us with delicious contrasts in register, such as Isifile’s heart-wrenching Brown University introduction toward the end of act 1 sandwiched between a comic aria by Delfa on Creighton University the joys of young love and Medea’s hair-raising incantation scene; or, in just one scene Duke University opening the second act, Isifile’s rousing soliloquy on the heels of Oreste’s attempted Eastman School of Music seduction of her. Indiana University For better or for worse, Opera Omnia’s production of Giasone at Le Poisson Rouge, New York Public Library a cozy cabaret in Greenwich Village, largely did away with such juxtapositions, lean- University of California at Berkeley ing heavily on camp as a vehicle for the vision of stage director Crystal Manich. The University of California at Los Angeles production, using an English translation by Paul C. Echols and Martin Morell from University of California at Riverside 1987, cut Isifile’s act 1 solo entirely. When Isifile eventually made her appearance, the University of California emotional impact of her lines, as well as those of Egeo (the other jilted lover), was at Santa Barbara blunted by the presence of ironic gestural University of Hartford commentary from other cast members. University of Illinois Only in act 3, when the story’s mechanics at Urbana-Champaign required a swerve toward sincerity to unite University of North Carolina the appropriate lover-pairs, were Isifile and at Chapel Hill Egeo portrayed without irony. University of Pittsburgh The results were rather uneven. Egeo’s University of Virginia wistful solo near the beginning of act 3 Uppsala University Library, about his unrequited love for Medea—the Carolinabiblioteket, Sweden first such moment of unadorned sentimen- tality—seemed completely unmotivated in light of the hilarity that had preceded it. Certainly the complete silence among the spectators, up to this point well-lubricated Giasone at Le Poisson Rouge (New York City) NE W MEMBERS by the bar and generally raucous in their The SSCM warmly welcomes the laughter, was jarring. And the success of Isifile’s impassioned plea in the finale—the turn following new members who joined that finally wins Giasone back to her—owed more to the gifted acting by the ensemble the Society between September 16 and than to the gutted libretto. December 31, 2011: The cast’s serviceable singing—led by Cherry Duke in the title role, Hai-Ting Chinn as Arthur Haas Medea, and Katharine Dain as Isifile—was supported by a superb continuo group, led Stony Brook, New York by Avi Stein on the harpsichord and featuring Robert Mealy and Daniel Lee on violin. Eric Bianchi Mention must also be made of the final ensemble member of the evening: the space New York, New York itself. While the layout of tables interspersed among rows of seats resembled nothing Katelyn Clark that would have been found in a seventeenth-century Venetian theater, the smaller scale Victoria, Canada (250 seats) created an intimacy that was immediately appealing. One can understand Theirry Favier how the cabaret setting might have encouraged the producer (Wesley Chinn) and Tours, France stage director to create such a ribald spin on Giasone. Graham Freeman It was wonderful to see the spectators react so well to Cicognini’s humor, which the Toronto, Canada clever translation largely preserved and which an ensemble of skilled actor–singers, Constance Frei clearly enjoying themselves, brought to life. Undoubtedly, Giasone can find enthusiastic Geneva, Switzerland audiences nowadays. But it would have been even more gratifying to have seen the cast Katherine Kaiser display their acting chops by engaging more facets of such an emotionally rich work. Stony Brook, New York Jørgen Langdalen Oslo, Norway Luis Antonio González Marín Zaragoza, Spain Sara Pecknold Alexandria, Virginia Andre Redwood New Haven, Connecticut

Vol. 21, No. 2 17th-Century Music u 3 Conference Report: International Heinrich Schütz Festival Hanover, Germany; September 29–October 3, 2011 by Gregory Johnston, with supplementary notes from Frederick Gable

n 1636 Duke Georg von Calenberg voices. It should be mentioned that an moved his court to the fortified city eighth paper from the symposium was Iof Hanover, establishing there what reserved for an excursion to Wolfenbüttel we know as the House of Hanover. By on the final day of the festival. There in the the end of the seventeenth century, the Herzog August Bibliothek, with a backdrop Hanoverian duchy had been elevated by of rare leather-bound books reaching up the Holy Roman Emperor to electoral to the domed ceiling, Arne Spohr spoke status, and Georg’s grandson was in line on Heinrich Schütz as Kapellmeister at to become king of England. Hanover the Wolfenbüttel court. today is the capital of Lower Saxony On Saturday, following the annual (Niedersachsen) and played host to the membership meeting and a choir work- 43. Internationales Heinrich-Schütz-Fest in shop, a bus excursion to Neustadt and fall 2011. The festival, celebrating the 375th Wundtsdorf took participants to the anniversary of Hanover as a Residenzstadt marvellously preserved Sigwardskirche under the banner “Musik an niedersäch- (early twelfth century), a viewing of the sischen Welfenhöfen” (Music at the Courts Landestrost castle and fortifications, and of the Guelphs in Lower Saxony), took a musical tour of churches. The excursion place in several venues in the city center; was rounded out with a concert by the at the Hochschule für Musik, Theater und Johann Rosenmüller Ensemble under the Medien Hannover; and in communities direction of Arno Paduch, featuring rarities outside the city. by Schütz, Rosenmüller, Nicolaus Adam The days in this north German city Strungk, Georg Caspar Schürmann, and a had become noticeably shorter by early Christoph Spetner, Heinrich Schütz quite remarkable composition by an under- October, the sun moving appreciably lower (1650/1660), Leipzig appreciated Johann Friedrich Meister. For along the horizon, but the glorious summer early-music specialists, this was arguably the weather during the festival gave no hint of which allowed a comfortable amount of most satisfying concert of the festival. The the bitter winter ahead. Short though the time for questions and discussion: two sixth and final concert offered a program days might have been, they were packed papers were on seventeenth-century op- of polychoral works by Schütz, Michael with events from morning until night. era in Hanover (Bernhard Jahn, Vassilis Praetorius, Andreas Hammerschmidt, The festival commenced with an official Vavoulis), two on composition and music Johann Schelle, and others, as performed welcome, some music by Schütz sung by the collections at the Wolfenbüttel court by the famed Knabenchor Hannover and Knabenchor Hannover, and an opening (Konrad Küster, Gabriele Ball), one on the Barockorchester L’Arco directed by Jörg lecture by Thomas Schwark (director of early dissemination of French music in the Breiding. Hannover’s Historical Museum) on Duke Guelph domain (Reinmar Emans and Sven Six main concerts, walking tours and von Calenberg and his court. The inau- Hiemke), a paper on Johann Hermann promenade concerts, excursions and choral gural evening concert, the first in a series Schein as composer of court music (Katrin workshops, lectures and a symposium, of six, was given by the Norddeutscher Eggers), and my own on funeral music and almost all of it devoted to music of the Figuralchor under the direction of Ralf funerary practices at the Guelph courts. seventeenth century and much of this Meister, offering a blend of funerary mu- The symposium drew to a close in time for music heard all too rarely—if this descrip- sic by Schütz (including the Musikalische participants to catch their breath before tion whets your appetite for more, rest Exequien) and works by modern composers a two-part Wandelkonzert (promenade assured that plans are well underway for Kurt Thomas and Charlotte Seither. concert) of Spanish and Italian organ forthcoming Heinrich Schütz Festivals: A one-day musicological symposium was music introduced and performed by Ulfert Venice (2013), Copenhagen (2014), and included in the festival schedule and had Smidt—the first part in the Neustädter Dresden (2015). For the current year, as its theme “Heinrich Schütz and Music at Hof- und Stadtkirche (where Gottfried under the rubric “Heinrich Schütz and the Guelph Courts in Lower Saxony.” The Wilhelm Leibniz, Ossa Leibnitii, is interred) Music in the Time of the Reformation,” the symposium was hosted by the Hochschule and then to the city’s Marktkirche for part festival will take place on the banks of the für Musik, Theater und Medien Hannover, two. The evening’s main concert of early River Elbe in Torgau, Germany, September efficiently organized by Susanne Rode- and more recent music was performed by 27–30. For more information, please visit Breymann and Katrin Eggers, and chaired the Mädchenchor Hannover and Musica the International Heinrich Schütz Society’s by the IHSS president, Walter Werbeck. Alta Ripa, directed by Gudrun Schröfel and website at www.schuetzgesellschaft.de. There were seven presentations in total, featuring tremendously talented young

4 u Vol. 21 No. 2 17th-Century Music Conference Report: “Re-Creation: Musical Reception of Classical Antiquity” University of Iowa; October 27–30, 2011 by Christine Getz

rganized by Robert Ketterer and Gregory Hand from the University of Iowa and Andrew Earle Simpson from Othe Catholic University of America, and sponsored by a consortium of Iowa organizations, the conference brought together international scholars from the disciplines of musicology, music theory, classics, film, and theater to consider how the myths, dramas, and aesthetic ideals of classical antiquity were received, represented, and re-imagined in musical works dating from the sixteenth through the twenty-first centuries. Although opera topics figured prominently throughout the conference, paper sessions were also dedicated to the use of music and sound in staging modern theatrical productions of Greek dramas, the reinterpretation of ancient classical ideals in music theory and aesthetics, and the influence of classical models and philosophical themes on modern compositions ranging from the songs of Dallapiccola to rap and heavy metal. The conference was kicked off with a keynote lecture entitled “Orpheus and the Origins of Opera: Looking Back at Peri’s Euridice” sponsored by the Iowa Opera Studies Forum and presented by Wendy Heller. Intended as an interdisciplinary prelude to two full concert readings of Jacopo Peri’s Euridice during the weekend by the University of Iowa Opera Studio (directed by Gregory Hand and Alan Hicks), Heller’s lecture deftly wove together a scholarly introduction to the work that was accessible to non-musicians with thoughtful reflections on the reception of classical themes in the opera that opened it to seasoned musicians in new ways. Heller’s talk was followed by a reception and concert of modern Guido Reni, Bacchus and Ariadne (1619-20), compositions inspired by themes from classical antiquity presented Los Angeles County Museum of Art by the Center for New Music at the Iowa School of Music, under the direction of David Gompper. Other special events during films with live piano music by Andrew Simpson, including two the weekend included a lecture entitled “The Ideal Chorus: versions of Ben Hur. Opera, Philosophy and Tragedy” by Simon Goldhill from King’s Among the conference papers of particular interest to mem- College, Cambridge, and a lecture-recital on the music inspired bers of the SSCM were Tiziana Ragno’s “Hero and Leander as by Ben Hur (1880) and its many adaptations, presented by Jon ‘Cantata’: From Ancient Literature to Accompanied Monody, Solomon, Andrew Simpson, and James Thompson. The former from England to Italy,” which examined the tendency to set lecture considered how the obsession with Greek tragedy in the Ovidian text of the Hero and Leander myth as an operatic nineteenth-century German idealist philosophy shaped the role scena–lamento in seventeenth- and eighteenth-century canta- of the modern opera chorus, while the latter served as a prelude tas; also Carlo Lanfossi’s “Crafting Drama, Rethinking History: to the conference dinner and subsequent screening of silent Agrippina between Seventeenth-Century Venice and Milan,” which not only explored the use of both ancient classical histories and contemporary comedies in crafting Matteo Noris’s Venetian libretto of Agrippina, but also chronicled the Venetian libretto’s revision for Pietro Magni’s Milanese opera on the same subject. Additionally, Wendy Heller’s “Rescuing Ariadne” shifted the traditional focus in studies of Monteverdi’s Arianna from the extant music of the lament to the libretto’s Bacchic conclusion. By showing that artistic images and literary sources dedicated to the myth were typically concerned with celebrating Arianna’s erotic union with Bacchus rather than her abandonment, Heller demonstrated that Arianna’s famous lament might be sonically viewed as a sort of “erotic awakening” that foreshadowed the opera’s ending. Abstracts of the papers presented, which touch on a wide variety of subjects, are available at www.uiowa.edu/~classics/ events/music_classics_conf_abstracts.html. University of Iowa

Vol. 21, No. 2 17th-Century Music u 5 Society For Seventeenth-Century Music April 19–22, 2012 D epartment of Musical Instruments, Metropolitan Museum of Art, New York, New York Program

Thursday, April 19 Michael Bane (Case Western Reserve University) 2:00–5:00 P.M. Registration Francesco Corbetta’s La Guitarre Lobby, Courtyard Marriott Hotel royalle (1674) and the Aesthetic 1:15–3:15 P.M. Joint meeting of the 2009–2012 of Ease and 2012–2015 Governing Boards Arne Spohr Hunter College (Bowling Green State University) CUNY, North Building, room 417 Networking, Patronage and BREAK (3:15–3:30 P.M.) Professionalism in the Early History of Violin Playing: The Case of 3:30–4:45 P.M. Meeting of the Web Library William Brade Editorial Board Hunter College 12:15–2:00 P.M. lunch and Formal Business Meeting CUNY, North Building, room 417 Metropolitan Museum, Sacerdote Lecture Hall Friday, April 20 2:00–4:00 P.M. Museum Tours 8:30–9:15 A.M. Registration Metropolitan Museum, Uris Center, J. Kenneth Moore (Curator in Sacerdote Lecture Hall Charge, Metropolitan Museum) Jayson Dobney (Associate Curator, 8:30–9:15 A.M. Continental Breakfast Reception Metropolitan Museum) Metropolitan Museum, Barbara Hanning (SSCM and CUNY) Sacerdote Lecture Hall Wendy Heller (SSCM and Princeton) Meeting point: Musical Instruments 9:15 A.M.–12:15 P.M. PAPER SESSION I Wing, Second Floor, Balcony Metropolitan Museum, Sacerdote Lecture Hall BREAK (4:00–4:15 P.M.) SHORT SESSION A: 4:15–5:15 P.M. lecture Recital: Pasqualini Singing THE VISUAL MUSE Roger Freitas (Eastman School of Rose Pruiksma (University of New Music), chair Hampshire, Durham), chair Margaret Murata (University of Michael Dodds (University of California, Irvine) North Carolina School of the Arts) Arthur Haas (Stony Brook University) The Canon in Pieter van Laer’s Katherine Kaiser (Stony Brook Self-Portrait with Magic Scene University) Georgia Cowart 6:30 P.M. Bus departs from the Marriott for (Case Western Reserve University) Chinatown Performing/Transforming French Identity: Watteau and the Satiric 7:30–8:00 P.M. Cocktails Musical Theater Golden Unicorn Restaurant 18 East Broadway BREAK (10:35–10:55 A.M.) 8:00–10:00 P.M. Banquet SHORT SESSION B: Golden Unicorn INSTRUMENTALISTS, PROFESSIONAL AND AMATEUR Saturday, April 21 Charles Brewer (The College of 8:30–9:00 A.M. Registration Music, The Florida State University), Coffee chair Metropolitan Museum, Sacerdote Lecture Hall

continued on next page 6 u Vol. 21 No. 2 17th-Century Music 9:00–12:40 A.M. PAPER SESSION II BREAK (3:20–3:40 P.M.) Metropolitan Museum, Sacerdote Lecture Hall SHORT SESSION B: OPERA AND MASQUE IN ENGLAND SHORT SESSION A: MUSIC AND Candace Bailey (North Carolina THE PRINTED OBJECT Central University), chair Bruce Gustafson (Franklin & Marshall College; Oxford Murray K. Dahm (Sydney) Bibliographies Online), chair Henry Purcell’s Spaniards and the Dating of Dido and Aeneas Graham Freeman (University of Toronto) Amanda Eubanks-Winkler “Things Marvelously Altered”: Print, (Syracuse University) Manuscript, and Consumer Demand Cupid in Early Modern Pedagogical in Early Modern England Masques Alexander Silbiger (Duke University) 5:15–7:30 P.M. Concert preceded by Wine-and- The Mystery of the Frescobaldi Cheese Reception Portraits Juilliard 415 with Robert Mealy playing the Museum’s 1693 Stradivari derek Stauff (Indiana University) violin Polemical Broadsheets and Lutheran Museum, Patrons Lounge Music in Saxony during the Thirty Years’ War Sunday, April 22 BREAK (11:00–11:20 A.M.) 7:00–8:20 A.M. Breakfast meeting of the 2012–2015 Governing Board SHORT SESSION B: VOICES OF Location TBA SCULPTURE Jeffrey Kurtzman (Washington 8:30–9:00 A.M. Coffee University in St. Louis), chair Metropolitan Museum, Sacerdote Lecture Hall Wendy Heller (Princeton University) Arethusa and Daphne: Opera, 9:00–12:00 noon PAPER SESSION IV Sculpture, and the Staging of Desire Metropolitan Museum, for Scipione Borghese Sacerdote Lecture Hall Alex Fisher (University of British SHORT SESSION A: Columbia) THEORY AND PRACTICE A Musical Dialogue in Bronze: Michele Cabrini (Hunter College, Gregor Aichinger’s Lacrumae (1604) CUNY), chair and Hans Reichle’s Crucifixion Gregory Barnett (Rice University) Group for the Basilica of SS. Ulrich Modal Polemics and the Intangible and Afra in Augsburg Modes 12:40–2:00 P.M. lunch Don Fader (University of Alabama) 12:45–1:50 P.M. lunch meeting of the Journal’s Les Modernes Face the Music: Editorial Board The Circle of the Future Regent Uris Seminar Room as Locus for a Relativist Crisis in “Préramiste” Music Theory 2:00–5:00 P.M. PAPER SESSION III Metropolitan Museum, BR EAK (10:20–10:40 A.M.) Sacerdote Lecture Hall SHORT SESSION B: SHORT SESSION A: OPERA AND DIALOGUES WITH TEXT SACRED SONG IN ITALY Christine Jeanneret (Université de Robert Holzer (School of Music, Genève), chair Yale University), chair Eric Bianchi (Fordham University) Andrew Eggert (Columbia Bad Latin and Bad Manners: University) Giovanni Battista Doni Reads Marin L’Eritrea 1652, 1654, 1661: Mersenne Comparative Dramaturgy of Cavalli Tim Carter (University of North in Performance Carolina, Chapel Hill) Sara Pecknold (Catholic University of Cerberus Barks In Vain: Poetic America) Asides in the Artusi–Monteverdi “On Lightest Leaves Do I Fly”: Natality Controversy and the Renewal of Identity in Barbara Strozzi’s Sacri musicali affetti (1655)

Vol. 21, No. 2 17th-Century Music u 7 Society for Seventeenth-Century Music Informal Business Meeting Hyatt Regency Hotel San Francisco, California Friday, November 11, 2011; 12:15–1:15 p.m. Minutes

President’s Welcome (Lois Rosow) music prepared by John Suess and a collection of some three The president convened the meeting. She invited those present hundred keyboard transcriptions of Lully’s stage music edited by to visit a table at the AMS book exhibit where they could help David Chung. Silbiger gave particular thanks to those who have themselves to the Society’s new informational flyers and bookmarks. provided peer-review of submissions. He invited volunteers for such tasks as electronic preparation of copy. Those interested Report from the Treasurer (Susan Lewis Hammond) should contact Janette Tilley, associate editor. The treasurer reported that the Society was in good financial health and had at that moment 234 members. The combined Report from the Editor of the Newsletter (Roger Freitas) balance of all accounts was $61,597.75. She encouraged all Freitas reported that the fall 2011 issue (vol. 21, no. 1) would present to join or to renew their membership. arrive a bit late because of a university staff member’s illness. The issue’s twenty pages include considerable coverage of the Report from the Schütz Society Representative summer’s activities. The spring issue will be a bit shorter. Freitas (Gregory Johnston), in absentia thanked those who submitted conference reports and encouraged Rosow reported that Johnston was unable to attend but sent members to volunteer to cover conferences. Freitas noted that his regrets and regards to all. His report on autumn IHSS events his term is coming to an end after the spring issue. Anyone will appear in the spring Newsletter. interested in the position should inform the president.

Report from the Editor-in-Chief of the Journal (Kelley Harness) Report from the Local Arrangements Chair (Barbara Hanning) Harness reiterated the information she had reported at the Our next annual conference will be held in New York City, April spring business meeting concerning new publication arrange- 19–22. It will be hosted by the Musical Instruments Department ments for JSCM. Our contract with University of Illinois Press of the Metropolitan Museum of Art. Others involved in local was to expire at the end of December. An ad hoc committee arrangements include Georgia Cowart, liaison with the museum; chaired by Jeff Kurtzman (also including Bruce Gustafson, Bruce Gustafson, in charge of the banquet; Janette Tilley, web- Kelley Harness, Lex Silbiger, and Lois Rosow) had negotiated master; and Lois Rosow, for hotel arrangements. Because the a contract with Paul Arroyo of UIP to continue his electronic Met is a non-academic institution with its own rhythms, the board management of the Journal but as a private contractor, at a has approved some modifications to our normal conference rate of $35 per hour. JSCM will move to a commercial server, schedule. A Friday morning breakfast reception will take the Bluehost; its URL will remain unchanged. place of a Thursday evening reception. Thursday night will be Volume 15, the last under Bruce Gustafson’s editorship, was an evening on the town, on our own. Suggestions for concerts, to come out soon. Three more volumes are in preparation; clubs, and theater will appear at the website. The banquet, at Harness aims to publish all three by January 1, 2013. She thanked the Golden Unicorn in Chinatown, will take place on Friday Reviews Editor Beth Glixon and Copy Editor Mary Paquette-Apt rather than Saturday night; chartered buses will transport us for their much appreciated assistance. Harness reminded those there and back. The conference itself will include tours of the present to encourage potential authors to submit their best seventeenth-century portion of the art collection (given by work to our Journal. Society members) as well as the musical instrument collections. The hotel, a Courtyard by Marriott, is on a cross-town bus line; Report from the Editor-in-Chief of the Web Library registrants will be able to purchase a metro card as part of their (Alexander Silbiger) packets. The president recognized the Program Committee: Silbiger reported that the Web Library will move to the same Shirley Thompson (chair), Hendrik Schulze, Esther Criscuola server as the Journal, Bluehost. He reminded those present to de Laix, and Rebecca Cypess. delete bookmarks containing the Duke University URL. The Web Library is doing extremely well, with two editions Updates from the President (Lois Rosow) recently published (works by Kapsperger and Cossoni), three in The president introduced the Society’s newly elected officers, preparation, and one under review. A new series, Monuments who will take office in April: Stewart Carter, president; Amanda of Seventeenth-Century Music (Jeff Kurtzman, general edi- Eubanks-Winkler, vice president; Andrew Weaver, secretary; tor), will begin with a large anthology of Italian instrumental and Christine Getz, treasurer. Gregory Johnston will continue continued on next page

8 u Vol. 21 No. 2 17th-Century Music as AHSS representative. Society’s Governing Board. Our system of concurrent terms of Rosow reported that our contract with the Bluehost server office discourages institutional memory; moreover, it encourages will cost only $80 per year. In addition to moving the JSCM and inefficiency at the beginning of a term. An ad hoc committee WLSCM websites, we will eventually move the main SSCM site comprising Rosow, Kimberlyn Montford, and Rob Shay considered there as well. She plans to look into the possibility of develop- various models for overlapping terms. After much discussion and ing a more sophisticated, interactive website, allowing online consultation, the board selected one model to present to the membership renewal and voting. The Society’s listserv (SSCM-L) membership: a three-year term for the president, comprising one will remain on the University of California, Irvine, server. year as president-elect and two as president; a two-year term for Following the precedent established by past presidents Bruce the vice president, coinciding with the president’s principal two Gustafson and Margaret Murata, Rosow plans to host the 2013 years; and overlapping three-year terms for secretary, treasurer, annual conference in Columbus, at the Ohio State University. and Schütz Society representative. Those present informally In addition to a concert, she is arranging an evening of baroque endorsed the addition of a member-at-large, possibly providing dance, sponsored by the university’s excellent dance department. a way for younger members to get involved. In response to In response to a straw poll, those in attendance seemed evenly questions from the floor, Rosow confirmed that we already divided on whether they would prefer a dance workshop or a have a standing nominating committee and that editorial and dance concert. committee terms will necessarily be uncoupled from officers’ The president turned the floor over to Lex Silbiger, who terms. A formal proposal to change the by-laws will be on the reported that the tentative plans for a symposium in connection agenda of the business meeting in New York. with the 2012 Utrecht Early Music Festival had broken down, in part because the topic—northern European keyboard music Other new business; announcements from the floor at the time of Sweelinck—is marginal to most SSCM members’ Jeff Kurtzman proudly observed that our Society is entering specialized interests. We should perhaps try again at a future its third decade and that the Society has thrived as a result of time. Rosow suggested that it might be more fruitful for future the many contributions from all who have served. Governing Boards to explore formal participation by the Society Georgia Cowart, liaison to the Metropolitan Museum for in the Boston Early Music Festival. the spring conference, noted that the Department of Musical Rosow reported that the AMS Board of Directors is concerned Instruments has long been interested in hosting our annual about the lack of applications for publication subventions on conference. They are very pleased that we are coming and look seventeenth- and eighteenth-century French topics. The James forward to the opportunity to show off their collections. R. Anthony Fund has been used for only one subvention so far, John Hajdu Heyer offered a follow-up to Rosow’s remark on a grant to Georgia Cowart for her book The Triumph of Pleasure: the James R. Anthony Fund. He reminded members that he Louis XIV and the Politics of Spectacle (University of Chicago Press, had sought our support in establishing the fund as part of the 2009). Specialists in French music are urged to apply. AMS’s successful OPUS campaign. He clarified that the fund Rosow was approached shortly before the business meeting may be used to defray personal expenses as well as publisher’s by representatives of The New Grove Dictionaries, Editor-in-Chief expenses, so long as they are for a publication under contract. Deane Root and Editor Anna-Lise Santella. They hope specialized Rebecca Harris-Warrick announced that the Toronto-based societies will help them identify Grove articles requiring updating. company Opera Atelier will present Lully’s Armide at Glimmerglass They approached SSCM first because they perceive us as “so Opera (Cooperstown, New York) in July and August. well organized.” Anyone interested in working on this project should let Rosow know. Respectfully submitted, Finally, Rosow turned to her largest topic: information on Antonia L. Banducci, secretary a forthcoming proposal to change the election cycle for the [email protected]

E lection Results Results of elections for the Governing Board of the Society, April 2012–2015: President: Stewart Carter Vice President: Amanda Eubanks Winkler Secretary: Andrew Weaver Treasurer: Christine Getz Chair, American Heinrich Schütz Society: Gregory Johnston

Jan Miense Molenaer , Family Portrait of Jan Miense Molenaer (1635), Frans Hals Museum, Netherlands

Vol. 21, No. 2 17th-Century Music u 9 Revisitng Atys . . . Again by Geoffrey Burgess

It takes place in one room, in the documentation, a vital byproduct that all music-history educa- space of one day. One room of superb tors will applaud. Recently released by the Opéra Comique, the polished marble—somber, formal, but DVD with accompanying interviews and rehearsal footage allows with a chilling resonance. This is the detailed study of a production that warrants repeated viewings. courtly carrefour, the intersection of “So, is it the same production?” everyone eagerly asks. The mortals and goddesses, the meeting production team hedged their bets by dubbing it a “recréation” point of tragic heroes and entertainers, rather than “reprise,” but the distinction is not immediately appar- the locus of enchanting encounters ent. Directed as before by William Christie, Jean-Marie Villégier, and demonic enchantments. A day and his stage assistant Christophe Galland, with Carlo Tommasi . . . or a single moment? In reality, it responsible for rebuilding his own décors and Patrice Cauchetier takes four hours to unfold, to reveal for re-sewing his meticulously researched costumes, only the its pace, its motions of linearity and late Francine Lancelot had to be replaced, her choreographies circularity, of coy avoidance and impas- now supervised by her assistant Béatrice Massin. On the stage, sioned embrace. Of ecstatic stasis in sommeil, frenzied possession, however, the cast is virtually entirely new. While there were quite and tragic death. The room “of an unforgettable beauty” was a few veterans in the chorus and orchestra, among the principals for almost twenty years only dimly visible, but was opened once only Bernard Deletré and Nicolas Rivenq returned. again by Les Arts Florissants last July in Paris, and September at But even if it were possible to people the original production the Brooklyn Academy of Music. with an identical cast, on the same stages and with the same sets, In 2005 when I prepared my essay “Revisiting Atys” for Early the result could never be the same. Villégier compares remounting Music, there seemed little chance that the work would ever be a mise-en-scène to replaying a game. Although the rules and props seen again. Not only had attempts to revive Les Arts’s renowned are the same each time it is played, different players will result 1986 production come to nothing (talks of performances at the in a different play. But how different was this play of Atys? In a 2000 Olympics in Sydney ended in budget shortfall), but no brief exchange after one of the BAM performances, Bill Christie other company had dared loosen Christie’s magisterial grasp on declared confidently that this was “a totally new production.” l’opéra du roi. Atys lived on in the minds of those who had seen Could that be true? Was my memory playing tricks? It certainly it, in the audio recording, and in pirated copies of a televised seemed that everyone was mimicking their predecessors’ gestures performance from Montpellier in 1987. That room seemed (bodily as well as vocal). The Wilson-esque moment as Sangaride even more permanently sealed in memory when worn costumes sang “Atys est trop heureux,” Cybèle’s prostrate déploration at the were released from storage to drape on lifeless mannequins in end of act 3, the antics at Sangar’s feast in the following act—all an exhibition at the Palais Garnier coinciding with Les Arts’s reanimated from the past. While I can see Bill’s point that the twentieth anniversary. re-creation benefits from a greater familiarity with the style, the But history has strange ways of repeating itself. It is perhaps question begs to be asked: whose style—Lully’s or Christie’s? without irony that it would take the same type of patronage that For many, a new production of Atys would have been unthink- had initially given the opera life to bring it back to the stage. It able. From what we learn from the press, Mr. Stanton wanted, needed a modern-day patron who, as whimsical as Louis, could, more than anything, to turn the clocks back to that evening in with a snap of the fingers (and a check for $3.1 million), command 1986 when he stumbled on a performance of Atys. Furthermore, a revival of a show that had made a lasting impression on him it would have been hard for Les Arts to go against an almost over twenty years earlier. Perhaps Richard Taruskin was not so overwhelming public demand to see Atys again just as it was. wrong when he wrote that “one cannot affirm [Christie’s] artistic While there might have been little chance to stray from the 1986 success without affirming the politics that underwrites it” New( production, the re-creation enacts the historicism of that historical Republic, December 13, 1993, 42). event. This four-hour moment provides an opportunity to take Still, it is nothing short of a miracle that Ronald P. Stanton’s stock of the water that has passed under the bridge to the grand magnanimity covered the expense of re-creating Atys. When it siècle over these past two decades and to put in perspective Les was first mounted in the 1980s, even state subvention did not Arts Florissants’s achievements over the same period. Subsequent allay budgetary constraint. The stage machinery was eliminated to the spectacular evocation of the court of Louis XIV in Atys, the (a decision that director Villégier turned to his advantage, giving companion-pieces in the Christie–Villéger trilogy—Médée and the work unity of place in a single room), the original cast at St.- Hippolyte et Aricie—were conceptually similar, but since then, the Germain-en-Laye decimated, and superstars shunned to further company has placed increasing emphasis on modern stagings that, reduce the budget. In 2011 the poor state of preservation of most while greatly expanding public awareness of pre-revolutionary of the material elements meant that the production literally had to French opera, have been mixed in the seriousness with which be reconstructed. Add inflation to all this, and the bills mounted. they have treated the works as historical documents. A double cast was no longer viable, or necessary. Conceived to Where the same singers return to the re-creation of Atys, their provide understudies, the practice of double-casting had allowed less youthful voices and bodies betray change. Deletré brings for more compact seasons while training a wider group of singers, his familiar humor to the role of Sangar, his inebriated gestures but it added to the already hefty bill for costumes. Principal virtually identical to his earlier follies. Casting the mature (but still roles were still shared in 2011 but in discrete shifts rather than vocally luminous) Rivenq as King Célénus provides a generational consecutive performances in the same venue as in the earlier perspective lacking from earlier performances. Other members of runs. Stanton’s check did stretch to fund high-quality audiovisual the original cast, now in their mid-50s to late 60s, were no longer continued on next page 10 u Vol. 21 No. 2 17th-Century Music willing or able to replay their parts. They have been replaced fell on deaf ears, and it was not until 1992 that Christie called for by young singers who have come to the style “second-hand.” the orchestra to tune to 392 for French repertoire. Atys, however, In the 1980s Christie drew his principals from the Early Music was kept at 415 Hz to the end of its second revival. French pitch circuit, but the demands for staging baroque opera have changed, makes a significant difference to vocal timbre, as well as balance and he no longer senses the same need to seek out experts in and the singers’ general level of comfort. The advantage is most French baroque style. In the 90s when the company began play- noticeable with the haute-contres and gives Paul Agnew the capacity ing to larger houses, Christie (with executive pressure from his to bring a greater resplendent quality to Le Dieu de Sommeil. entrepreneurs) began hiring “bigger” voices. Today mainstream Arranged with meticulous care in the 80s, the orchestration and opera singers audition for Les Arts Florissants, having learned continuo distribution remain largely intact but, in addition to the style from Les Arts’s recordings. The members of the new recorders, transverse flutes are now audible throughout the score cast, equally at home in Wagner, Britten, Poulenc, Mozart, or as well as visible onstage in the sleep scene. Another important Lully, possess the vocal flexibility for baroque style. Ed Lyon, who difference between 1986 and 2011 involves pacing. It is thought played Atys at BAM, is one such singer. He may bring a “deer-in- that, after Lully’s death, the performance of his operas became the-headlights quality” to the title role (Allan Kozinn, New York progressively slower. We see the same phenomenon in this revival Times, September 19, 2011), but his youthful naiveté does not seem of Atys. Although the performance never seems to drag, the to be fully conscious and, while he may have brought freshness duration on the DVD (recorded at the Opéra Comique in May to the character, I did not find his portrayal more convincing 2011) is about twenty minutes longer than the 1987 recording, than Guy de Mey’s introspective maturity or Howard Crook’s the most significant difference coming in act 3, now over seven affirmative nonchalance. De Mey and Crook were already well minutes longer. (I also have it on good authority that indulgent established when they played the title role and, as the founders tempi at BAM added a further twenty minutes to the timing from of the style, they “lived” their roles with greater authenticity than the start of the season at the Opéra Comique.) last year’s cast. Emmanuelle de Negri (Sangaride) combines the Atys stimulated an enormous upsurge of interest and research flexibility and clarity of diction renowned in her predecessor in French baroque opera. We are now in a better position to Agnès Mellon with a rich and projecting tone; Anna Reinhold understand Christie and Villégier’s politicized postmodern evoca- (Cybèle) possesses the vocal presence appropriate to a goddess, tion of louisquatorzienne France (funded largely from Mitterand’s but remains a little too in control and lacks the vulnerability that nominally socialist Ministère de la Culture) as a distinctly late made Guillemette Laurens’s performance extraordinary (notably twentieth-century phenomenon. In the prologue, Iris announces in the monologue that closes act 3). that Cybèle has called for the enactment of the tragedy of Atys in Declamation and vocal inflection are still the hallmarks of the the court of Louis XIV, implying that the opera’s dénouement production, though with little concession to early pronuncia- is already a reality. The circularity of the ritualistic (re)play of tion, despite its successful revival by the young ensemble Poème mythology must have been in Villégier’s mind when he created harmonique. Some residual anachronistic ornamentation remains Atys, and repopulating the rebuilt marble room perpetuates this (misplaced trills that some of the singers seem to have picked up ritualistic cycle by adding a further level of commentary and by rote-learning from the recording). One change that has had mise-en-abîme. The re-creation provides not only a modern view of a decisive impact is the adoption of French pitch. In 1984 Bruce an opera from the court of Louis XIV, but a distinctly postmodern Haynes’s advice to perform Charpentier’s Médée with A at 392 Hz replay of a company revisiting its own history.

Travel Grant Recipients

s first announced in the fall 2009 issue of this Newsletter, a graduate student at Catholic University, presenting the paper the Society has initiated a program offering one or more “‘On Lightest Leaves Do I Fly’: Natality and the Renewal of Identity A travel grants per year to assist those who do not otherwise in Barbara Strozzi’s Sacri musicali affetti (1655).” The members have access to travel funds to attend the annual spring conference. of the Travel Grant Committee are Kimberlyn Montford (chair, To quote from the original announcement, “eligible candidates and vice president of the Society), Don Fader, and Arne Spohr. include students pursuing a degree in music beyond the bachelor’s Further information on the travel grant program is available on degree who do not receive adequate travel funding from their the website of the Society (www.sscm-sscm.org). home institutions, independent scholars (those with no current institutional affiliation), and junior faculty (those in temporary academic appointments or in the first three years of a tenure-track appointment) who do not receive adequate travel funding from their home institutions.” The Society is pleased to announce the awardees of the travel grant for the 2012 conference are Murray Dahm, an independent scholar from Australia, presenting the paper “Henry Purcell’s Spaniards and the Dating of Dido and Aeneas”; and Sara Pecknold,

Vol. 21, No. 2 17th-Century Music u 11 conference announcements

2013 SSCM Conference in Columbus: Call for Proposals The Society for Seventeenth-Century Music will hold its twenty-first annual conference from Thursday through Sunday, March 21–24, 2013, in Columbus, Ohio, hosted by the School of Music at the Ohio State University. Proposals on all aspects of seventeenth-century music and its cultural contexts are welcome. Presentations may take a variety of formats, including individual papers of twenty minutes in length, lecture-recitals (forty-five minutes), workshops involving group participation, roundtable discussions, and panel sessions. The Irene Alm Memorial Prize will be awarded for the best scholarly presentation given by a graduate student. It is the policy of the Society that all presenters be members in good standing. A presenter may not give individual papers at two consecutive meetings, nor make more than one presentation at a single meeting. For individual papers, abstracts not exceeding 350 Columbus, Ohio words should clearly represent the title, subject, and argument, first (file name: “anonymous submission”) should include only and should indicate the significance of the findings. Proposals for title and abstract; the second (file name: your own last name presentations in other formats should be of a similar length; they and short title of your paper) should contain name, address, should clearly state and justify the intended format and should telephone, fax, e-mail address, and institutional affiliation or indicate the originality and significance of the material to be city, along with the paper title and abstract. The content of the delivered. Those for lecture-recitals must include recordings of the second attachment should also be pasted into the body of the proposed performer(s) playing examples of the same repertory if e-mail in case of transmission problems. Submissions will be not the exact proposed work(s). Examples of successful abstracts acknowledged within three days of receipt. may be seen in the “conference archives” at the Society’s website Students should identify themselves as such on the non- (www.sscm-sscm.org). anonymous copy of the abstract. Anyone proposing a lecture-recital Proposals should be sent by e-mail (deadline: midnight, Eastern should attach a short biography. Please include audiovisual needs. Daylight Time, October 1, 2012) to the Program Committee at Audio or video recordings supporting proposals for lecture-recitals [email protected], with the subject-line “SSCM Proposal.” are required and should be received by the same deadline as the The e-mail should carry two attachments in Microsoft Word. The abstract; we regret that they cannot be returned.

Calls for Papers or Manuscripts

Deadline for Abstracts: June 1, 2012 Deadline for Abstracts: June 15, 2012 New Perspectives on the Keyboard Works of Antonio Soler: Nineteenth Annual Conference of the Società Italiana di Musicologia The Eleventh International Symposium on Spanish Keyboard Music Milan, Conservatorio di Musica “Giuseppe Verdi”; “Diego Fernández” October 19–21, 2012 Parador de Mojácar, Almería, Spain; October 11–12, 2012 Scholars from all over the world are invited to submit paper The aim of this international symposium is to provide a forum proposals. Every topic in the field of musicological studies is for new directions in the scholarship and performance of Soler’s accepted. In the abstract (which should not exceed thirty lines), works. Proposals for papers are encouraged in (but not limited to) please indicate the title of the proposed paper and the state of the following areas: Soler’s keyboard works: sources, performance, the art in your research field, along with an outline of the project styles, genres; Soler and the keyboard instruments for his music; and the specific contribution to current knowledge. Along with Soler and contemporary musical aesthetics; the reception of the text, please send also a short CV (fifteen lines maximum) and Soler’s works in Europe and the Spanish colonies; Soler and indicate the audiovisual equipment required. The paper shall music historiography from the eighteenth century to the present. not exceed twenty-five minutes in duration (corresponding to We welcome abstracts of 200 to 250 words for twenty-minute an eight-page text containing a maximum of 16,000 characters). papers, as well as proposals for lecture-concerts (thirty minutes). Scholars may not send more than one abstract. The abstracts Abstracts should be signed at the bottom with the author’s name, should be sent either to the e-mail address segreteria@sidm. institutional affiliation or city of residence, and full return address, it or the postal address, Società Italiana di Musicologia, Casella including e-mail address and fax number where possible. The postale 318, Ag. Roma Acilia, via Saponara 00125, Rome, Italy. official languages of the symposium are English and Spanish. (Please add on the envelope the indication “XIX Convegno The symposium fee (including symposium dinner) is EUR 150. Annuale.”) Please provide your full name, address, phone number, For further information, please contact Luisa Morales, by post at fax number, and e-mail address. For further information about FIMTE, Apdo. 212, Garrucha 04630, Almería, Spain; telephone the conference please visit the website: www.sidm.it. at +34 610804486; or email at [email protected] or fimteinfo@ gmail.com; or visit the website at www.fimte.org.

continued on next page 12 u Vol. 21 No. 2 17th-Century Music Deadline for Abstracts: June 15, 2012 Society for Seventeenth-Century Music “Dramma scolastico e oratorio nell’età barocca” Financial Report Reggio Calabria, Istituto Superiore di Studi Musicali Conservatorio January 1–December 31, 2011 “F. Cilea”; October 5–6, 2012 The subject of the conference is certainly worthy of investigation, REVENUES whether in regard to southern Italy (Calabria, Sicily, and Naples) Dues and Subscriptions $8,354.86 or to Rome itself and Europe in general. The theme further lends Donations $2,495.00 itself to consideration by both scholars of sacred theater and musicologists because of the different fields involved: literature, Minneapolis Conference $17,838.53 doctrine, music. Interested scholars who have conducted research (includes $ 1,001.48 from book exhibit) on this subject are invited to propose papers with an abstract, which Total Revenues $28,688.39 should contain the provisional title of the paper along with an explanation of the subject of the research, its importance, and the results. The abstract can be sent by email to conservatoriocilea@ EXPENDITURES infinito.it, [email protected], or [email protected]; or it can be Postage $41.77 sent by post to Conservatorio di Musica “F. Cilea,” via Aschenez Banking Fees $68.00 prolungamento, 1, 89123 Reggio Calabria. Those accepted will Newsletters $1,083.33 be notified by July 10. Travel Grants $1,140.00 Deadline for Articles: October 1, 2012 Journal (University of Illinois Press) $7,150.00 Religion and the Arts, a peer-reviewed scholarly journal from Boston Early Music America, membership $95.00 College, is planning a special issue on Opera and Religion for its issue 17.2 (published in June 2013). Articles on all aspects of AMS Conference $92.50 opera and all faith traditions will be considered. We prefer articles Web Library $139.97 of between 4,000 and 9,000 words using parenthetical citation. Bookmarks and Flyers $813.95 Send complete articles to [email protected]. The journal website is located at www.bc.edu/publications/relarts. Minnesota Conference $17,612.05 Conference Subsidy $852.78 U pcoming Conferences Total Expenditures $29,089.35 June 15–17, 2012 Autour du clavier d’autrefois: the Legacy of Kenneth Gilbert, SSCM ACCOUNT BALANCES a conference in honor of Kenneth Gilbert’s career achieve- Frost Bank, TX, December 31, 2010 $ 61,093.71 ments, his influence on early music scholarship and perfor- Conference Bank Account, NY, December 31, 2011 $ 100.00 mance, and his unique pioneering spirit, discernment, and (transferred from Frost Bank account) passion for the early keyboard. Further information may be found by visiting www.music.mcgill.ca/kgc/ or by contacting Frost Bank, TX, December 31, 2011 $ 58,435.41 Dr. Rachelle Taylor at 1 (514) 398-4535, ext. 089577. Paypal, US, December 31, 2011 $ 925.99 Paypal, Canada, December 31, 2011 $ 1,231.35 July 1–7, 2012 Music, Cultures, Identities: 19th Quinquennial Congress of Total Assets, December 31, 2011 $ 60,692.75 the International Musicological Society. Further information is Respectfully submitted, available at www.ims.2012.net. Susan Lewis Hammond, treasurer July 11–15, 2012 March 24, 2012 15th Biennial International Conference on Baroque Music (Southampton, UK). Further information is available at the conference website, www.southampton.ac.uk/baroque_mu- sic_conference/index.page.

September 4–8, 2012 15th International Conference of the Gesellschaft für Musikforschung, on the theme “Music/Musics: Structures and Processes” (Goettingen, Germany). For further information, visit gfm2012.uni-goettingen.de.

September 27–30, 2012 44th International Heinrich Schütz Festival: Heinrich Schütz and Music in the Time of the Reformation (Torgau, Germany). Further information is at www.schuetzgesellschaft. de or can be had by writing to [email protected].

Vol. 21, No. 2 17th-Century Music u 13 ARTES MUSICAE PERITI

Rebekah Ahrendt is pleased to announce The Master’s College in Santa Clarita, a history of bowing based on the analysis the release of her new CD with the en- CA; and Claremont Graduate University of various performance practices as they semble Les Grâces (MSR Classics, MS1396). Concerts at Claremont School of Theology are revealed by a systematic study of Entitled “Les grâces françoises,” the concert series, Claremont, CA. The pro- seventeenth-century Italian musical sources, program features cantatas by Montéclair gram highlighted some of the earliest and both practical and theoretical. and Bernier and instrumental works by latest music for harpsichord featuring Marais, Couperin, and Duphly. Rebekah “Alpha” composers William Byrd, Martin Rosalind Halton presented a paper was also recently awarded a substantial Peerson, Ercole Pasquini, Giovanni Maria entitled “Collaboration and the Italian Cultural Grant from the Netherland- Trabaci, Girolamo Frescobaldi, and Louis Solo Cantata” at the 2011 New Zealand America Foundation for her research and Couperin; and “Omega” composers Ivar Musicological Society Conference performance project, “The Musical World Lunde, Gyorgi Ligeti, Harold Meltzer, and (Wellington) on a session devoted to of Pieter Teding van Berkhout,” based on Eugene Anderson. French and Italian seventeenth-century the musical experiences related in a Dutch vocal music. She also played harpsichord diary between 1669 and 1712. Luca Della Libera just published two articles: in a performance of Quirino Colombani’s “La musica a Sant’Ivo alla Sapienza nel XVII cantata Sul margine d’un rio, based on her Nicola Badolato would like to announce secolo,” in Musica tra storia e filologia: Studi in own edition. the forthcoming publication of his vol- onore di Lino Bianchi, ed. Federica Nardacci ume, I drammi musicali In August Jeffrey di Giovanni Faustini Kurtzman gave a talk per Francesco Cavalli entitled “A Jungian (Florence, Leo S. Interpretation of Olschki). It contains Psychic Disintegration a critical edition of in Monteverdi’s Orfeo ten librettos written by (1607)” at the confer- Faustini for Cavalli’s ence Creativity and setting in Venice in the Madness: Psychological decade 1642–1652. The Interpretations of Art in Introduction contains Santa Fe, New Mexico. an analysis of the In October he presented literary sources that the paper “Lessons for inspired the librettos, a Dynastic Wedding: A the plotting technique, Neo-Platonic Reading and the formal aspects of Monteverdi’s of the arias. Arianna and Il Ballo delle Ingrate.” His Graydon Beeks took article, “The Psychic time off from his Nicolas Regnier, Divine Inspiration of Music (1640, Los Angeles County Museum of Art) Disintegration of a Handel research to ap- Demi-God: Conscious pear as harpsichordist with the Cornucopia (Roma: Istituto Italiano per la Storia della and Unconscious in Striggio and Baroque Ensemble and plucked string spe- Musica, 2010) [printed in 2011], 135–52; Monteverdi’s L’Orfeo” was published in Music cialist Scott Pauley in a program of chamber “Nuovi documenti biografici su Alessandro and Consciousness: Philosophical, Psychological, music by G. B. Fontana, G. G. Kapsperger, Scarlatti e la sua famiglia,” Acta musicologica and Cultural Perspectives, ed. David Clarke Andrea Bertali, and Tarquinio Merula on 83, no. 2 (2011): 205–11. and Eric Clarke (Oxford: Oxford University November 5, 2011. All the members of the Press, 2011). ensemble—which for this concert consisted Mary Frandsen’s article, “Salve Regina/Salve of baroque violinists Alfred Cramer and Rex Christe: Lutheran Engagement with the The Schola Cantorum Basiliensis Andrew McIntosh, baroque bassoonist Marian Antiphons in the Age of Orthodoxy (Switzerland) held an international, in- Carolyn Beck, and viola da gamba player and Piety,” appeared in October 2011 in terdisciplinary symposium on December Roger Lebow—are present or former Musica Disciplina 55 (2010): 129–218. Also, 1–3, 2011, on Monodien: Paradigmen faculty members at Pomona College. Pauley her article “Gottfried Fritzsche (Frietzsch) instrumental begleiteten Sologesangs in is a 1987 graduate of the college and a at the Dresden Court, 1628—29,” will ap- Mittelalter und Barock, which included long-time member of Chatham Baroque. pear this fall in The Organ Yearbook, vol. 41. papers by Tim Carter, Michael Klaper, and Margaret Murata. The conference In January and February, Ruta Bloomfield Constance Frei would like to announce papers will appear in the 2011 volume of performed a solo harpsichord concert that her book L’arco sonoro was published the Basler Jahrbuch für historische Musikpraxis. entitled “Alpha and Omega” at three last September (Lucca: Libreria Musicale venues: Faith Community Church and Italiana). The book aims at establishing continued on page 17

14 u Vol. 21 No. 2 17th-Century Music Report on Proposals for the Annual Meeting, 2012 Donors in 2011

IRENE ALM MEMORIAL PRIZE FUND At the meeting of the governing board of the SSCM in April The Society for Seventeenth-Century Music gratefully acknowl- 2009, it was decided that statistics regarding paper proposals edges the support of anonymous donors and the following for the annual meeting should be published each year in the individuals who have made donations during 2011 to the spring issue of the Newsletter. As chair of the program committee fund for the Irene Alm Memorial Prize: for the Minneapolis meeting, Shirley Thompson provided the following information: Graydon Beeks Kimberlyn Montford Jennifer Williams Brown Catherine Moore-Broatman Submitted Accepted Acceptance Esther Criscuola de Laix Janet Pollack Rate (%) Amanda Eubanks-Winkler Colleen Reardon Ken Filiano Steve Saunders Total Proposals 76 18 23.7 Frederick K. Gable Darwin Scott Papers 63 17 27.0 Christine Getz Alexander Silbiger Lecture-Recitals 13 1 7.7 Jonathan Gibson John G. Suess Student papers (of the 63) 15 4 26.7 Barbara Russano Hanning Barbara Sparti Rebecca Harris-Warrick Distribution by National Focus of Topic Italy 35 JSCM FUND England 12 The Society for Seventeenth-Century Music gratefully acknowl- France 11 edges the support of anonymous donors and the following individuals who have made donations during 2011 to the fund Germany 4 for the Journal of Seventeenth-Century Music: Iberia 3 Anthony J. Godzieba Edith Hines South America 2 David Grundy Janet Pollack Denmark 1 Bruce Gustafson Anne Schnoebelen Barbara Russano Hanning Susan Shimp New France 1 Rebecca Harris-Warrick Alexander Silbiger Multiple nations, or unspecific 7

Distribution by Location of Submitter TRAVEL GRANT FUND USA 44 The Society for Seventeenth-Century Music gratefully acknowl- edges the support of anonymous donors and the following Canada 8 individuals who have made donations during 2011 to the Italy 4 fund for the Travel Grant. Scandinavia 3 Barbara Russano Hanning Eva Linfield Rebecca Harris-Warrick Kimberlyn Montford Great Britain 3 The Netherlands 2 Switzerland 2 WLSCM FUND Spain 2 The Society for Seventeenth-Century Music gratefully acknowl- edges the support of anonymous donors and the following Germany 2 individuals who have made donations during 2011 to the France 2 fund for the Web Library of Seventeenth-Century Music: Australia 2 Thomas D. Dunn Janet Pollack Brazil 1 Eleanor F. McCrickard Alexander Silbiger Tom Merrill John G. Suess Belgium 1

Distribution by Gender of Submitter GENERAL FUND Male 46 The Society for Seventeenth-Century Music gratefully acknowl- Female 30 edges the support of anonymous donors and the following individuals who have made donations during 2011 to the General Fund: William Porter Colleen Reardon David Schrader

Vol. 21, No. 2 17th-Century Music u 15 AMS 2011: A Tasting Menu Continued from cover

Craig Monson explored the participation of that focused on the central role Virginia the way Venetians viewed him not just as a music and other arts in matters of confor- Andreini played in the success of the political ruler but also a spiritualized imago mity and internal conflict within a number lament, both in Claudio Monteverdi’s or icon, with the power of the Venetian of seventeenth-century convents. On the Arianna and as a genre in general. state and its patron Saint Mark. Reuland same panel, Emily Wilbourne discussed In a short session on Friday afternoon, also examined the role of music in rituals the experiential commonalities of two early Alexander Fisher and Esther Criscuola de involving icons in other Mediterranean modern women: composer and musician Laix gave papers that moved beyond art states, rituals that created a sacred and Virginia Andreini and visual artist Artemisia music to consider ambient and popular political understanding of the Venetian Gentileschi. musics in German lands. Fisher looked at authority in those colonies. Friday morning offered a session on the use of bells in Counter-Reformation A short session on Saturday afternoon “highbrow/nobrow music” featuring a Bavaria as a sonic representation of the was devoted to Roman musical environ- paper given by Sarah F. Williams on the unity and public discipline of a faithful ments. Ayana Smith explored the new “notation ballads” of the broadside tradi- Catholic state. Criscuola de Laix, explor- aesthetic programs emerging from the tion, which developed from popular songs ing the seventeenth-century “Bergreihen” circles around Queen Christina of Sweden into elite entertainments. Her essay shed or “miners’ dance songs,” unearthed not and the Arcadian Academy during the late new light on notational curiosities that were only this largely unfamiliar genre but also seventeenth century. Her paper examined previously viewed as either nonsensical its manner of performance. Her sugges- La Statira–on a libretto by Cardinal Pietro or mere printer’s errors, demonstrating tions for the performance practice of the Ottoboni and with music by Alessandro that such elements document the transi- Bergreihen encouraged a reconsideration Scarlatti—as a forerunner of the new tion of the broadside ballad from low to of the performance of sixteenth-century visual aesthetics of verisimilitude associ- high culture in late seventeenth-century polyphonic Lieder and Italian song as a ated with Gravina and the Arcadians. England. In another Friday morning category of popular music in the seven- Virginia Christy Lamothe’s contribution session, this one devoted to nature and teenth century. described the Archconfraternity of the science, Jonathan Gibson examined the In a Saturday morning session devoted Santissimo Crocifisso di San Marcello as a dichotomy of artificial and naturalistic to pedagogy, Stuart Cheney revealed that liminal space in which social and religious representations in Lully’s Roland of 1685. teaching the viol to choristers was just as hierarchies were leveled. In a similar way, His presentation bridged the gap between common a practice in seventeenth-century the music of the oratorios written for the seventeenth-century studies of music and France as it was in England. Cheney ad- confraternity by Stefano Landi and Virgilio rhetoric in an era when French writers vanced the notion this instruction allowed Mazzocchi can be understood to transcend began to cultivate the aesthetics of le naturel for small ensembles to play instrumental both key and mode, thus creating a liminal in their rhetorical delivery. genres as well as to accompany voices harmonic space. Friday afternoon offered an entire ses- when necessary, both inside and outside In a session on Sunday morning, Graham sion devoted to “Mad, Bad, and Lewd” the church. His talk revealed connections Freeman and Aaron S. Allen both presented representations on the seventeenth-century between religious education and secular papers that focused on musical instruments Italian stage. It was a pity that Francesco music-making in Paris, Troyes, Lyons, and their role in culture and politics dur- Dalla Vecchia was unable to attend the Rouen, and even Quebec. Amanda ing the seventeenth century. Freeman’s conference and deliver his paper on Eubanks-Winkler gave a paper focusing paper described the turn of the seventeenth “Sopranos Gone Wild” in Venetian opera. on musical entertainments performed century in England as a “golden age” of lute Thomas Lin’s presentation explored the at boarding schools in England in the music, with one of the largest repertories significant alterations to Cavalli’sGiasone seventeenth century. Her findings placed of the Renaissance. Nevertheless, Freeman (1649) in performances throughout the school performance of Henry Purcell’s described how most of this music exists in the later seventeenth century. His is an Dido and Aeneas in a larger context of manuscripts written by student amateurs, important contribution to the history of performances of many other “school highlighting the relationship between teach- seventeenth-century opera in that it draws musicals” by a number of other compos- ers and their students and how copying upon a multitude of sources in a compara- ers and examined the purposes of these music was a performative act unto itself. tive manner, including over fifty libretti and performances. Her research also discussed Here Freeman concluded that lute-song thirteen scores. Maria Purciello investigated the relationship between the schools for composers wanted their music to remain the meaning and diagnoses of madness girls in England in the seventeenth century an open and interpretive form, and that in the seventeenth century and how they and theaters of that time. the resistance these composers had towards were represented in Cavalli’s L’Egisto. She A short session on Saturday morning printed music was related to political and established the period’s view of madness focused on music-making in Venice. religious authority. Allen’s paper presented not as a duality, but rather as a continuum Here, Jamie Greenberg Reuland gave a a novel, ecomusicological examination of between madness and sanity that could paper about music that was viewed not tree species and violin making, particularly be represented in a number of ways on as allegorical, but rather animistic. Here that of the Stradivari family, during the the operatic stage. Emily Wilbourne also Reuland explored how music for laudes seventeenth and eighteenth centuries. contributed to the session with a paper ducis, or acclamations for the doge, shaped He contextualized and gave value to the continued on next page

16 u Vol. 21 No. 2 17th-Century Music A Performance of Biblical Proportions Continued from cover materials used to make a musical culture. The performers dressed only in standard black with the addition of some simple white In examining deforested or harvested masks, hooded black capes, and sashes of different colors; the only prop employed was forests in Brazil and Italy, his paper also the occasional sword. Even with this minimal approach, the staging was both fantastic taught important lessons about global and creative: for example, red ribbons were used both to mimic blood in the final scenes sustainability. and also raise and lower the bodies of the dead Jonathas and Saül. The set consisted of Finally, Louise Stein’s Sunday morning a single white sheet meant simply to cover the altar but that also served to reflect the paper illustrated the agency of a particular variously colored lighting during and between acts. Sauerwald and Weiss wrote in their singer, the castrato Giovanni Francesco program notes, “We use period instruments, but modern staging because we feel that Grossi, detto Siface. Surprisingly, given the music is best served by the instruments for which it was written and that the drama modern-day notions of castrato virtuosity, is best served by staging that resonates with our audience.” Stein revealed that Siface’s vocal profile was From the very first notes of the overture, the orchestra was polished and clear. It somewhat unremarkable. What he traded consisted of four violins, one viola, two cellos, five viols, pairs of oboes and recorders, and a on in the creation of his “brand” were his bassoon, trumpet, theorbo, guitar, harpsichord, and organ—period instruments all, right good looks, his agility, and his embodiment down to the leather mutes on loan to the ensemble. The cast consisted entirely of young of an early-modern paradigm of masculinity professional singers, including Owen McIntosh as David, Linda Tsatsanis as Jonathas, that was sensitive, sensible, and worthy of and Jacob A. Cooper as Saül. The performance from singers and instrumentalists alike sympathy. Siface, according to Stein, carefully was stylish, many of the musicians being veterans of the Boston early music community. manipulated his roles and his contracts in The lyrical quality of Charpentier’s score was remarkable, and this was the com- order to preserve and further his onstage ment that I heard most from those exiting the concert. The singers truly brought the persona and his offstage reputation. roles to life, and their acting was first rate. In Jonathas’s solo scene in act 4, Tsatsanis As this brief overview suggests, the study communicated both vocally and visually the anguish of having to choose between her of seventeenth-century music continues character’s father and friend. Cooper and McIntosh likewise exhibited genuine emotion, to grow, employing ever more diverse and McIntosh did a superb job of singing in several very different registers, so much methodologies. It was fitting, then, to so that one musicologist in the audience was unsure if he was a tenor or countertenor. hear about so much of this new work in (For the record, McIntosh said he does not think of himself as either.) such a vibrant, beautiful, and culturally Next year, Boston will enjoy the ensemble’s second full-length production, the North diverse city. American premiere of Francesco Cavalli’s Artemesia. I look forward to Helios’s future endeavors, bringing rarely performed baroque operas to life.

ARTES MUSICAE PERITI Continued from page 14

Steven Plank has published a critical edi- pour les comédies de Molière, with Hugo Partnership Award from the Horace H. tion of John Eccles’s “dramatick opera” Reyne, his ensemble La Symphonie Rackham School of Graduate Studies at Rinaldo and Armida, the first volume in du Marais, and vocal soloists Romain the University of Michigan. a multi-editor series devoted to Eccles’s Champion, Vincent Bouchot, and Florian works published by A-R Editions. Westphal (www.simphonie-du-marais.org/ Andreas Waczkat would like to announce charpentier-musiques-comedies-moliere/). the publication of the book chapter John Powell would like to report that the “Danzig: Acht Jahrhunderte Kirchenmusik,” thirty-six chamber arias he edited for the Sally Sanford has been appointed adjunct in Zentren der Kirchenmusik, ed. Matthias Stradella edition (Edizione nazionale professor at Queens College (CUNY), Schneider and Beate Bugenhagen, dell’opera omnia di Alessandro Stradella, where she will teach the graduate seminar Enzyklopädie der Kirchenmusik, no. 2 general editor Carolyn Gianturco, series in baroque performance practice. (Laaber: Laaber, 2011), 214–38. Although 4, vols. 1–3) have been recorded and the subtitle says “eight centuries of church released on the Brilliant/Classics label Louise K. Stein has been awarded a National music,” seventeenth-century matters are (94258; two discs) with Claudio Astronio Endowment for the Humanities Fellowship very prominent. and his ensemble Harmonices Mundi; for College and University Teachers (for vocal soloists Susanne Rydèn, Martin 2012–13) for her project ”Opera and Andrew H. Weaver announces that his Oro, and Lisandro Abadie; and theorbist the Transformation of Naples under the book, Sacred Music as Public Image for Holy Pietro Prosser (www.brilliantclassics.com/ Marquis del Carpio, 1683–1687.” Her Roman Emperor Ferdinand III: Representing release.aspx?id=FM00397703). Another research for this project in Italian libraries the Counter-Reformation Monarch at the End CD of music he has edited (this time, and archives was supported by a prestigious of the Thirty Years’ War, was published by from his website) has been released on Franklin Research Grant from the American Ashgate in January 2012. the label Musiques à la Chabotterie: Philosophical Society in 2011 and enhanced Marc-Antoine Charpentier: Musiques by funding from a Distinguished Research

Vol. 21, No. 2 17th-Century Music u 17 MEMBERSHIP DIRECTORY This list contains the names of members whose dues were current as of February 1, 2012. Please contact Susan Lewis Hammond ([email protected]) to correct or add any information.

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Vol. 21, No. 2 17th-Century Music u 19 Graphics: Page 1: Panoramic view from Coit Tower in San Francisco, showing Bay Bridge, the piers and How to Join the SSCM Downtown, for the calendar year (2012) and are as follows: Page1: Jonathan Greeting David, Gottfried Bernhard Göz (1708–74), • SSCM + American Heinrich Schütz Society, regular membership, $65 Page 2: Still-Life with Musical Instruments, Pieter Claesz • SSCM + AHSS membership for retirees/pensioners, $55 (1598–1660), Louvre Museum, Page3: Giasone, from any further rise in rates: Page 4: Heinrich Schütz, Christoph Spetner • SSCM only for 2012 + 2013, $50 (1617–1699), Leipzig, < http://commons.wikimedia. org/wiki/File:Schutz.jpg> • SSCM only for 2012 + 2013 + 2014, $75 Page 5: University of Iowa, Page 9: Family Portrait of Jan Miense Molenaer, Jan Miense Telephone: +1 (319) 335-1622 Molenaer (1610–1668 ), Frans Hals Museum, E-mail: [email protected] Netherlands, Our Internet PayPal account is available only to international members and requires a service Page 10: Atys title page, < http://parterre. charge of $1.00 US. If you come from outside the U.S., please contact the treasurer for com/2011/09/19/evergreen-goddess/> instructions. Page 12: Columbus, Ohio, < http://www.city-data.com/ forum/city-vs-city/813197-columbus-oh-oklahoma- city-ok.html> Page 14: Divine Inspiration of Music, Nicolas Regnier (1591–1667), Los Angeles County Museum of Art, < http://collectionsonline.lacma.org/mwebcgi/

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