The Newsletter of the Society for Seventeenth-Century Music Vol. 21,20, No. 1,3, Fall 2011

Seventeenth-Century“Manhattan” for SSCM Music 201 in2 byIndianapolis: Barbara Hanning Notes from AMS 2010 by Brians Oberlanderthe old Rodgers and Hart song proclaims,he American the Musicological island of Manhat Society- careful analysis of the extant score of Akheldtan holdsits 2010 an Annualembarrassment Meeting inof Artemisia, tracing a certain expressive logic riches todowntown delight Indianapolismembers of (November the Soci- in the composer’s revisions and placing this Tety for Seventeenth-Century Music for 4–7), joined by the Society for Music Theory. in dialogue with such theoretical sources Paperstheir twentieth relevant to annual seventeenth-century conference, to as Aristotle and Descartes. In another musicbe held were April delightfully 19–22, 2012, numerous at the Metand- venture of revaluation, Valeria De Lucca generallyropolitan Museumof fine quality, of Art thoughin New York.most argued against the idea of an operatic nadir Home to 1.5 million people, New York were found in sessions that looked beyond in Rome following the closure of its first County (Manhattan) is still neverthe- periodization. From “Special Voices” and Venetian-style theater in 1675. Presenting less a clutch of small neighborhoods, “Marianeach with Topics” its distinct to “Private style Musics” and flavor. and a detailed case study of Prince Lorenzo “Beyond the Book,” the seventeenth century Colonna and his semi-private enterprise The song will serve to highlight some as “Museum Mile,” which includes Park. The concert, on Saturday took its place alongside studies of the met- at the Colonna palace, De Lucca revealed of those relevant to the conference. the Museum of the City of New York, evening and preceded by cocktails ronome, Die Meistersinger, and Stockhausen aThe fascinating Cooper-Hewitt theatrical space National that bridged Design and light refreshments, will feature in a stimulating series of exchanges. It was the commercial and the courtly and that In Central Park we’ll stroll …Where Museum, the Jewish Museum, the Robert Mealy, playing the Museum’s impossible to witness all of these exchanges testifies to a thriving operatic culture during our first kiss we stole … Soul to soul. Guggenheim Museum, El Museo del 1693 Stradivari violin, along with the firsthand, of course, as many were scheduled theBarrio, so-called and “Iron the Neue Age” of Galerie, Pope Innocent among ensemble Juilliard 415. simultaneously; indeed, the first full day of XI’s Rome. Moving south (and into the early Our meeting site is in the neighbor- others. A few blocks further south the conference was replete with promising eighteenth century), Robert Torre proposed hood of the elegant Upper East Side, of the Met is the astounding Frick We’ll have Manhattan The Bronx titleswhere in concurrent the Metropolitan sessions. Museum at linkscollection, between housed myth, gender, in the and industrialist’s Neapolitan To begin, though, I can report on two civic identity in a paper familiar to those and Staten Island too … Fifth Avenue and East 82nd Street former mansion. Our center of gravity We’ll try to cross Fifth Aaaaaaav- e-nue. period-basedborders Central sessions. Park,Friday afternoon’s the first whoduring attended the conference, last year’s however, SSCM meeting will be “Italian Baroque Opera,” chaired by Wendy inthe Houston, Met itself. “The In addition Siren Reconstituted: to the paper landscaped public park in the country. Crossing Fifth Avenue and walking Heller,Colloquially featured known outstanding as the presentations Met, the Silviosessions, Stampiglia’s the Museum La Partenopewill enable and small- the (and some lively discussion) on topics rang- Walledgroup toursGarden of of some Knowledge of the galleriesin Early one block east, we’ll come to Madison Museum owns more than two million Indianapolis,Avenue with IN its array of fine restaurants ingobjects from andpatronage boasts in Rome a collection to birdsong of Eighteenth-Century(including the Naples.” fabulous Torre musical dealt in Handel. In his paper “Representing the withinstruments the figure collection) of Parthenope, and willsiren host and and shops. And further east, accessible Egyptian art second only to Cairo’s. Its via the crosstown bus or by a twenty- Propertiesbuilding lies of atAffects: the southern Cavalli’s end Revisions of the mythicala private founder concert of Naples, in the mapping Museum’s her toclassy the Opera stretch Artemisia of Fifth and Avenue Their Textual known ancientPatron’s and Lounge early-modern overlooking resonances Central onto continued on page 12 Roots,” Hendrik Schulze reassessed the role her dramatic fate as the queen of the In This Issue . . . of the affects in Cavalli’s music through eponymous opera by Silvio Stampiglia and NewsIn ofThis the Society Issue… Jeffrey Kurtzman: An Appreciationcontinued on page 16 President’s Message ...... 2 LetterNews fromof the AustralasiaSociety ...... 3 by Lois Rosow TravelPresident’s Grant messageRecipients ...... 4 2 AsConference president of the Society,Report: Lois Rosow The delivered Pamphilj the following and address the Arts: at the conferral of 2011Letter Conference from Europe Schedule ...... 6 3 honoraryPatronage membership—the and Consumption Society’s highest honor—on in Baroque Jeffrey Kurtzman. Rome The kpresentation Informal2011 Irene Business Alm Meeting Minutes .. 10 tookby Eleanor place duringMcCrickard the business meeting on April 9, 2011, at the School of Music, University MembershipMemorial Prize Directory Winner ...... 18 4 of Minnesota, Minneapolis, MN. Annual Business Meeting ...... 8 n international, interdisciplinary conference on The Reports and Reviews s the generation that founded our Pamphilj and the Arts: Patronage and Consumption in AndréReports Campra and Reviews Colloque Society moves inexorably toward International 2010 ...... 4 Baroque Rome took place at Boston College on October Boston Early Music Festival 2011 ...... 5 and into retirement,15–16,A is 2010, it any sponsored by the Fine Arts Department, the Con la mente e con le mani ...... 5 wonder that our membersMcMullen have lately Museum of Art, and the Institute of Liberal Arts. ProposalsTwo Composers, for the AnnualTwo Continents Meeting, ...... 6 turned nominations for honoraryWith the mem election- of Pope Innocent X in 1644, his family, the 2011Music ...... and Liturgical Reform ...... 810 bership into an annual affair?Pamphilj, Annual became or leading patrons of the arts in Rome. The HeinrichHistorical Schütz Keyboard und MusicEuropa ...... 911 not, there is nothing casual about the conference examined contributions of three generations of SSCMSSCM 2010 2011 Financial in Minneapolis Report ...... 1113 approval process, a rigorouspatrons: gathering Innocent X; Prince Camillo Pamphilj (the pope’s of documentation aimed at celebrat- ConferenceIl novello Giasone Announcements at Martina Franca ...... 19 nephew) and his wife, Princess Olimpia Aldobrandini; and ing the accomplishments of our most SSCM 2012 in New York ...... 12 their son, Cardinal Benedetto Pamphilj. In particular, the Conference Announcements ...... 14 distinguished senior colleagues. Let Calls for Papers or Manuscripts .. . . . 12 conference concentratedRecent on honorary the role members, of Benedetto in Minneapolis: in shaping today’s celebration begin with thanks Members’ News ...... 16 the visual arts, music,Anne Schnoebelen, and literature Kerala from Snyder, the Jeffrey time Kurtzman, of his Members’ News ...... 14 to the continued on page 18 and Lex Silbigercontinued on page 17 Vol.Vol. 21, 20, No. No. 1 2 17th-Century 17th-Century MusicMusic ��� 11

Anne Schnoebelen and Lois Rosow 17th-Century Music is the semi-annual President’s Message newsletter of the Society for Seventeenth- Century Music. In addition to news of the t’s autumn: the time of year when we celebrate one spring Society, its members, and conferences, the Newsletter reports on related conferences, conference and look forward to the next. Congratulations musical performances, research resources, Iagain to Kelley Harness and her team at the School of and grant opportunities. Please send Music, University of Minnesota, for the conference last inquiries or material for consideration to spring. From the elegantly designed program booklet and the editor: well-chosen special events to the attractive surroundings and Roger Freitas Eastman School of Music seamless choreography, we saw constant evidence of Kelley’s 26 Gibbs Street attention to both the big picture and the details. Kudos to Rochester, NY 14609 the Program Committee, chaired by John Hajdu Heyer, for Phone: (585) 274-1458 the excellent quality of the papers they put before us. As for Fax: (585) 274-1088 (attn: Roger Freitas) the next: see you in New York! E-mail: [email protected] As you heard initially at our informal business meeting in Indianapolis and again Please note that information for the next issue at the business meeting in Minneapolis (see the minutes elsewhere in this issue), must be submitted by January 15, 2012. the Society will enter into an advantageous new publishing arrangement for the ISSN: 1054-6022 Journal in 2012. Thanks especially to Jeffrey Kurtzman and Bruce Gustafson for their creativity and hard work in negotiating the new contract and the transitional Assistant Editor Sarah Williams year. It has been four years since the European Science Foundation published its Associate Editors controversial ranking system for academic journals in the Arts and Humanities Beth Glixon (ERIH: European Reference Index for the Humanities). In response to intense Colleen Reardon criticism from academics, the architects quickly went back to the drawing board. They have now published a new system, and the response is just as negative as Corresponding Members before. The new categories are intended to reflect target audiences: “national” Michael Klaper (2010–2013) and “international.” “International” journals are then divided into “Int1” and Europe [email protected] “Int2,” with Int1 journals enjoying higher “visibility and influence.” (JSCM is on the Int2 list.) In a June interview with The Guardian, Michael Worton, a member Kimberly Parke (2011–2013) of the ERIH Steering Committee, argued that the system was meant not to rank Australasia [email protected] quality but merely to categorize types of journals, a “shorthand evaluation to help with the development of younger scholars.” British academics counter that it is Layout and Design impossible not to read hierarchical levels of quality into the categories, and of Karen Ver Steeg, Eastman School of Music course they are right. Moreover, I am perplexed by the need for the “shorthand Sarah Stein, freelance graphic designer evaluation” tool Worton describes: were young European scholars and their advisors previously at a loss, unable to decide which journals were appropriate for The Society for Seventeenth-Century their work? ERIH is evidently here to stay, but it is good to see such organizations Music is a learned society dedicated to as the Arts and Humanities Research Council in the UK distancing themselves the study and performance of music from the product. of the seventeenth century. Meanwhile, the Excellence for Research in Australia initiative (ERA) is about to eliminate its system of journal “quality indicators” (about which see my open Governing Board (2009-2012) letter in the fall 2009 issue of this Newsletter) because that system has been Lois Rosow, president used inappropriately by universities. Like their counterparts in Europe, the Ohio State University Australian architects intended their qualitative rankings from A* to C to be used [email protected] only descriptively. It is not surprising that institutions made them prescriptive Kimberlyn Montford, vice president as well, for instance by demanding a certain number of articles in A* journals. Trinity University The quality indicators are to be replaced by a system of “journal quality profiles,” [email protected] reflecting the rate of publication in each journal by members of a discipline at a Susan Lewis Hammond, treasurer given institution. I hope our Australian colleagues understand the usefulness of University of Victoria such percentages better than I do. [email protected] Lois Rosow Antonia Banducci, secretary [email protected] University of Denver [email protected] Gregory S. Johnston, chair American Heinrich Schütz Society, Treasurer’s Report University of Toronto [email protected] he Society’s financial position remains healthy. We continue to attract new members from North America and overseas, and we encourage Honorary Members Tmembers to support the Society through membership renewal and Stephen Bonta Jeffrey Kurtzman donations. Please consult the SSCM website for further information. Alfred Mann† Anne Schnoebelen The full treasurer’s report for 2011 will appear in the Spring 2012 Newsletter. Alexander Silbiger Kerala Snyder Respectfully submitted, Susan Lewis Hammond, treasurer

2  Vol. 21, No. 1 17th-Century Music Letter from Europe Compagnia di Gesù in the sixteenth by Michael Klaper and seventeenth centuries), Arnaldo Morelli (about devotional practices in early modern Rome), Christine Jeanneret (about the manuscripts of Girolamo Frescobaldi), Christian Speck (about the phenomenon of polychorality in the Roman oratorio of the seventeenth century), Colleen Reardon (about “Liturgical Drama, Sacred Opera, and Oratorio in Siena” enevoli lettori, and indeed the story was much easier around 1700), Alessio Ruffatti (about Could you imagine the to follow than at a more conventional the French reception of the music opera Bellérophon by Jean- production I saw some years ago in of Giacomo Carissimi), and Teresa B Gialdroni (about spiritual contrafacta Baptiste Lully on the top-ten charts? Erlangen. This is actually what happened in July of secular cantatas in the seventeenth of this year, as I learned from the jpc One of the singers in Erfurt was also and eighteenth centuries). Most courier, the monthly newsletter of one a member of the Thüringer Opernstudio, interesting was a paper by Luigi of the biggest mail-order companies a postgraduate course for excellent Collarile, who persuasively ascribed of music recordings in Germany young singers at the Musikhochschule two hymns to Francesco Cavalli, thus (courier.jpc.de). Their “Top Ten” are Franz Liszt Weimar (where I teach). broadening our perspective on the subdivided into “Pop & Rock,” “Jazz,” These students are regularly involved composer as maestro di capella at San and “Classic” (“jpc” being an acronym in new opera productions, including a Marco. baroque opera each year. In 2010 that for these terms), as well as “Music Among the doctoral dissertations DVDs.” Bellérophon held the tenth work was Alessandro Scarlatti’s Didone delirante, the score of which is housed in musicology finished in the German- position among classic CDs, and a speaking realm in 2010 I have become box with five complete operas by Jean- in Berlin. Accompanied by the expert period ensemble Lautten Compagney aware of three on seventeenth-century Philippe Rameau attained the fourth topics. Doris Blaich (University position among the DVDs, superseded (directed by Wolfgang Katschner), they succeeded extraordinarily in of Heidelberg) wrote on Samuel only by (in descending order) AC/DC, Friedrich Capricornus (including Donizetti’s Don Pasquale, and Puccini’s reviving this wonderful opera, not least because of the singers’ palpable a list of his works); Matthias Kirsch Tosca. I was immediately struck by this (University of Kiel), on the Mantuan great success, since I can remember enthusiasm. During the performance one of the women stumbled over an sinfonia in the seventeenth century; being told as a student in the early and Katrin Losleben (Hochschule für 1990s that Germans always struggled armchair, fell down behind it, and popped up again without missing a Musik und Tanz Köln), on the political with French opera and would always do implications of musical patronage in so. The problems were the language, note, a maneuver so breathtaking we wondered whether it was intentional. early modern Rome, as exemplified supposedly so different from German, above all by Christina of Sweden. and the resulting musical conventions, which unlike those of Italian opera To my great pleasure, I can report having participated in the International As always, a little anecdote at the could not apparently be appreciated end: some time ago a rumor went as “pure music.” With the passage Congress of Sacred Music, which took place in Rome from May 26 to June 1 around that a new student studying of time the situation seems to have singing at the Schola Cantorum changed, perhaps also because we are on the occasion of the one hundredth anniversary of the foundation of Basiliensis was . . . a castrato, one who now used to subtitles, which reduce had become such by accident. No truth the language barrier. the Pontificio Istituto di Musica Sacra. The participants were housed in to the story, it seems, so the search for the real castrato voice continues. If I did not have the opportunity a casa per ferie named Oasi di San to see live performances of French Giuseppe situated near the Deutsches Vivete felici! baroque opera over the past year Historisches Institut. Although we felt (Lully’s and Rameau’s are not yet a little isolated there, we were shuttled regular fare in German houses), each day to the site of the conference I saw two noteworthy productions near Piazza Navona, and the food of seventeenth-century works. The (and also wine!) was very good. It was staging of Henry Purcell’s King Arthur a large congress with parallel sessions in Erfurt was special: it involved a so that I could not hear all the papers collaboration between a small group touching on seventeenth-century of singers and instrumentalists on matters. But I would like to mention the one hand and a puppet theater at least the excellent papers given by company on the other. The singers, Lionel Li-Xing Hong (about “Catholic therefore, did not really act but only Music in Seventeenth- and Eighteenth- lent their voices to the performance Century China”), Saverio Franchi of the puppets. This worked very well, (about the musical importance of the

Vol. 21, No. 1 17th-Century Music  3 2011 Irene Alm From the Editorial Board of the Web Memorial Prize Library of Seventeenth-Century Music � Winner e are pleased �������������������� to announce presented Dr. Bamichas’s edition of by John Hajdu Heyer the publication two new edi- Giovanni Paolo Colonna’s Vesper Wtions Letanie on the Web e LibraryQuattro of AntifonePsalms (WLSCM dellÕAnno No. 18) on October Seventeenth-Century Music: WLSCM 29 at St. Philip Presbyterian Church No. 21: Giovanni GirolamoOPERA Kapsperg UNDECIMA,- in Houston; 1671 Nell Snaidas, soprano, er, Two Spiritual Monodies for soprano and Richard Kolb, lute, included and basso continuo, Edited by Pyrros Bamichas three arias by Tena- edited by David Dol- glia from Kolb’s edi- ata and Margaret tion (WLSCM No. Murata; and WLSCM 20) in their program No. 22: Carlo Donato of August 12 in Tan- Cossoni, Two Litanies nersville, NY; and the and Four Antiphons ensemble ARTEK for double choir and presented Marini’s organ, edited by Pyr- Lauda Jerusalem in Matt Henson ros Bamichas. The Thomas Dunn’s edi- Kapsperger edition tion (WLSCM No. 4) n Saturday evening April 9, includes a fully real- at the 2010 Berkeley 2011, during the banquet at ized theorbo con- Early Music Festival. Othe Society’s annual confer- tinuo part by Dolata, Early Music America re- ence held at the School of Music of the as well as a recording ported Marini’s work University of Minnesota, Minneapolis, of a wonderful per- “a real crowd pleas- the Irene Alm Memorial Prize for the formance of the two er!” If you know of best paper by a graduate student was works by the ensem- other performances awarded to Matt Henson of Florida ble Il Furioso, direct- of WLSCM editions, State University. Matt’s paper, en- ed by Victor Coelho. please let us know, titled “Cruda Amarilli: Angelo Notari’s Several other editions are in prepara- since we like to announce some of Adaptations of Monteverdi’s Madrigal,” tion. August 2011these on the WLSCM website. To ac- sheds new light on the work of Angelo We have learned of a number of cess WLSCM editions, go to the wel- Notari (1566–1663), a Paduan musi- recent performances of WLSCM edi- come page at www.sscm-wlscm.org and cian who spent the second half of his tions. The Houston Chamber Choir click on the Catalogue link. long life and career in England in the service of British royal households and who played a role in transmitting Italian music to England. Matt observes that Notari occupied a peculiar posi- �������������������������� ������������������������������������������������� tion among his English counterparts: he was the resident Italian. While other composers, including the older Henry Purcell, had connections with Italy, Notari was actually an Italian and was thus in a unique position to transmit Italian musical practices to his insu- lar contemporaries. By establishing a Monteverdian connection with three versions of Cruda Amarilli in sources associated with Notari, Matt proposes convincingly that the Italian composer In memoriam Bruce Haynes not only brought Monteverdian styles his past May the musical community mourned the loss of Bruce Haynes with him, but that he also freely ma- (1942–2011), hautboy player and influential author on the oboe. Bruce nipulated them. One result was a solo setting of Cruda Amarilli that is arguably Twill be remembered not only for his pioneering work in the revival of the richer in affect than Monteverdi’s own. early oboe, his thoroughly documented history of the hautboy’s first century in Matt delivered his well-organized and The Eloquent Oboe, research on pitch (The Story of “A”), and contributions to the handsomely illustrated paper in a lively Grove Dictionary and Yale Musical Instrument Series, but also his provocative writ- and engaging manner. His findings ings on musical aesthetics, notably The End of Early Music. Bruce’s final work on make a strong case for further study of rhetorical interpretation and affects, The Pathetick Musician, was left in a virtu- Notari and the manuscripts and music ally complete state, which Kate van Orden will see through to publication from associated with him. Oxford University Press. (Geoffrey Burgess)

4  Vol. 21, No. 1 17th-Century Music Conference Report: Boston Early Music Festival 2011: I trionfi di Steffani e della scena barocca by Colin Timms nyone who has looked at the extracts from Steffani’s Niobe, regina di Tebe (1688), published ninety-nine years ago in Denkmäler der Tonkunst in Bayern (Jahrgang 12, vol. 2), will know what a remarkable composition this opera is. The recitative is melodious and ornate; the arias, stylisti- cally rooted in Venice and Paris, range in expression from virtuoso bellicosity to lyrical sensuousness and chromatic in- tensity by way of French dances and manners, and the string parts are liberally peppered with detailed instructions for performance. The score presents an unusually appealing mix. What cannot emerge from the extracts is the problem of the libretto, which is more like a morality play than a trag- edy. The immediate source was Ovid’s account of how the beautiful and fecund Niobe grew so proud and conceited that the gods eventually unleashed their anger by slaying her seven daughters and seven sons, whereupon her husband Anfione killed himself and she was turned to marble and condemned forever to weep. The librettist, Luigi Orlandi, introduced both human interaction and magic, weaving ad- ditional characters into the fabric, but although these relate in various ways to Niobe, Anfione, and each other, the result Set design for Niobe (Gilbert Blin) is not an entirely coherent or convincing drama. Among the great achievements of the Boston produc- standing ovation. Colin Balzer and Yulia Van Doren sang tion in June was the fact that it persuaded the audience that beautifully as the young lovers Tiberino and Manto. Kevin Niobe is, nevertheless, a wonderful opera and that it did so D. Skelton (the Theban prince Clearte) hit his stride in Act by means of a historically informed approach to every ele- II, and Matthew White (the Thessalian prince Creonte who, ment of the work. The modest stage of the Cutler Majestic transformed into Mars, had earlier made a rather smash- Theatre felt about the right size for the purpose and was in- and-grab lover), appropriately saved his best to the end, telligently and effectively used. The design and coloring of when he succeeds Anfione as king. The part of Poliferno, a the sets (sliding flats) and costumes were appropriate to the prince of Attica and a magician, would have benefited from late seventeenth century and very pleasing to behold. A fly- a darker, more menacing sound than the baritone Jesse ing machine allowed gods to observe and change places with Blumberg produced. The soprano role of the nurse Nerea mortals, and became a serviceable dragon. Instead of being was transposed down and taken, in the Venetian manner, by left empty so that a few principals could (incongruously) run a male — the countertenor José Lemos — and the tenor role around—a common ploy in baroque opera production—the of the soothsayer and priest Tiresia was given to the baritone stage was often full of people whose movements had, there- Charles Robert Stephens. Six arias were omitted, but the fore, to be limited in number and scope. Anfione was often cuts did little damage. seen with some of his children. Every principal had two or Owing to a quirk of theatrical construction, the orches- more attendants, who responded to what they heard and tra could not occupy the pit and therefore sat in a double saw with minute gestures or changes of facial expression. In line between the stage and the stalls. Half the orchestra, this way they indicated that something significant had hap- including the concert-master Cynthia Roberts, faced the pened. When prompted by the music, they broke into an stage; the other half had their backs to it. Control was ex- elegant dance. None of this seemed precious or arid; on the erted by the concert-master and the (possibly over-colorful) contrary, it felt natural, affectionate, internally consistent, continuo group, who were seated together at one end; since and totally convincing. For this, although the entire produc- these players had full view of the stage, there was an intimate tion team is to be congratulated, special praise must go to rapport between singers and orchestra — and no need for a Gilbert Blin (stage director and set designer), Anne Watkins conductor. (costume designer), Lenore Doxsee (lighting designer), and In short, this Niobe was an outstanding achievement. It Caroline Copeland and Carlos Fittante (choreographers). demonstrated conclusively that a historically informed ap- The production was matched by the vocal and instru- proach to production, as well as to musical performance, mental performance, for which credit is due ultimately to the need not be an exercise in dry historicism but can engage joint musical directors, Paul O’Dette (theorbo) and Stephen a modern audience without difficulty. It also confirmed that Stubbs (baroque guitar). Amanda Forsythe excelled in the Steffani is an exceptional opera composer whose works de- title role, but even she was eclipsed by the superlative French serve more frequent production. This sensational staging countertenor Philippe Jaroussky as Anfione. Although this was a triumph for both the Boston Early Music Festival and role was composed for a soprano castrato, Jaroussky mas- the composer: it should come to be seen as a milestone in tered its range and its various technical and expressive the revival of baroque opera and as a benchmark for future demands with ease and conviction, and fully deserved his productions.

Vol. 21, No. 1 17th-Century Music  5 Conference Report: Two Composers, Two Continents by David Schulenberg and Arne Spohr [This two-part report covers the split conference, “Networks of Keyboard Music ca. 1600: Focus on Jan Pieterszoon Sweelinck and Peter Philips,” begun February 11–13, 2011, at McGill University in Montreal, Canada, and then completed March 1–4, 2011, at the University of Aberdeen, Scotland. The conference was organized by Rachelle Taylor of McGill and David J. Smith of Aberdeen and received support from both their departments.]

Montreal, Canada vocal) music for Continental musicians. He also played eyboard works from the circle of two composers, Philips’s keyboard arrangements of the Piper’s Galliard by one who stayed at home for most of his life and an- John Dowland and of Philips’s own pavan and galliard for other whose career led him across western Europe, (probably) Charles Paget. These performances were part of were the subject of an international conference whose two an ambitious concert that traced Philips’s career through parts took place on opposite sides of the Atlantic. Although works from England, Rome, Antwerp, and Brussels; the it is not certain that the two composers ever met, their pair- program included not only some of Philips’s best-known ing is justified by their having lived within the same region keyboard intabulations but also their original polyphonic during the same period and by the preservation of many versions, including madrigals and chansons of Marenzio of their keyboard works together in several large manu- and Lassus. On the same program, Rachelle Taylor played script anthologies that also preserve a wide variety of re- a number of Philips’s embellished intabulations from the lated music—hence the con- Fitzwilliam Virginal Book ference theme of “networks.” (which probably originat- Philips (1560/61–1628) stud- ed in Antwerp), as well as ied with Byrd before leaving his Passamezzo Pavan and England for Rome, eventually Galliard, which were also the settling in Antwerp and end- subject of her joint paper ing his career at the Brussels with Frauke Jorgensen. court. Sweelinck (1562?– Music of Sweelinck was 1621) worked for his entire the subject of another major adult life as organist of the concert, shared by Dirksen Oude Kerk in Amsterdam. with McGill harpsichord- Johannes Vermeer, Lady Standing at a Virginal (ca. 1670-73) Both left important publica- ist Hank Knox. The latter’s tions of vocal polyphony but contributions to the pro- are known today primarily for gram included Sweelinck’s their keyboard works, which arrangement of Dowland’s circulated in English as well Lachrimae Pavan, played as northern European man- on an anonymous Italian in- uscripts alongside music by strument dated 1677—a gift Byrd, Bull, and Sweelinck’s to McGill of harpsichordist numerous pupils, including and editor Kenneth Gilbert, Scheidt, Scheidemann, and who was in the audience. Jacob Praetorius. Dirksen’s offerings on the After a brief recital by same program opened with William Porter of organ works three rather sober pieces, in- by Sweelinck, the conference cluding the chorale “Da pa- had its formal opening with cem Domine,” played on the a keynote speech by Pieter grand but somewhat anach- Dirksen, whose books on ronistic Redpath Hall organ Sweelinck and Scheidemann by Hellmuth Wolff after Dom are central to studies in the field. During the conference Bédos. The program ended with Dirksen’s performance Dirksen also gave a more formal paper on the transmis- of the famous chromatic fantasia (“d1” in his catalog of sion of Sweelinck’s music in the southern Netherlands, Sweelinck’s works), played on a fine copy by Montréal proposing a chronology of the keyboard works of Orlando builder Yves Beaupré of the Yale Ruckers harpsichord of Gibbons (who traveled through Holland and Germany 1640. in 1613) and identifying the scribe of Lynar A1—the The present writer offered a lecture-recital—“What Is most important common source of works by Philips and a Composer?”—that followed up a similarly entitled review Sweelinck—as Martin Düben, whose father studied with article in the Journal of Seventeenth-Century Music. The talk the latter. The social and cultural background of another affirmed the attribution to John Bull of several pieces in important manuscript, the “Liber fratrum cruciferorum” the so-called “Guillaume de Messaus” manuscript—among of Liège, was the subject of a paper by Emilie Corwarem. them a newly identified third fantasia on Palestrina’s madri- Many of the presenters demonstrated their proficiency gal “Vestiva i colli”—while raising questions about Philips’s as both scholars and keyboard players. Conference organiz- responsibility for several anonymous intabulations that er David Smith gave a talk that emphasized the significance modern scholars have assigned to him. “Keyboard intavola- of Philips’s intabulations of instrumental (as opposed to tura technique” in Naples was the subject of a paper by Ian

6  Vol. 21, No. 1 17th-Century Music Pritchard, and Sarah Davies discussed Philips’s famous contemporary Sweelinck was the fo- German instrumental settings of cus of two presentations. Jaap den Hertog gave an account “Vater unser” by Scheidt, Steigleder, of the slow transition from Roman Catholic to Reformed and (remarkably) Dowland. Rona culture in the Netherlands and especially Sweelinck’s po- Nadler contributed a “practical dem- sition in the transition. In her lecture-recital (repeated onstration of keyboard contrapuntal from Montreal), Julia Dokter offered a new reading of improvisation techniques” based on Sweelinck’s psalm settings for keyboard instrument. By the writings of the Spanish theorist relating elements of musical rhetoric to poetic images of Sancta Maria, and the conference the psalm texts, she demonstrated an inherent music–text closed with a lecture-recital by Julia relationship in Sweelinck’s instrumental works. Dokter on the relationship between Other papers explored various forms of musical, cul- text and music in Sweelinck’s cho- tural, and religious networks in early modern Europe. rale settings. Paul Gameson investigated the dissemination of works by The conference organizers, who Henry Du Mont in England from the seventeenth to nine- were ably assisted by a number of teenth centuries, while John Bryan analyzed the manifold McGill graduate students, are preparing publication of the compositional cross-references among English consort conference proceedings. They expect to make recordings pavans of the late Renaissance. Sarah Davies examined of the performances available online. — D. S. English and Italian influences on German intabulations between 1575 and 1635. Steffen Voss discussed some of Aberdeen, Scotland Samuel Scheidt’s little-known three- and four-part instru- he English-born composer and keyboard player mental ensemble dances (from his 1622 and 1627 collec- Peter Philips (1560/1–1628) was one of the most tions) based on consort pieces by Philips, John Dowland, Teminent musicians of his time, and yet musicologi- and Anthony Holborne, while Dan McCoy examined a cal scholarship has only recently begun to acknowledge his case study of Anglo-German musical transfer, Scheidt’s importance. Philips shares this fate with many other mu- “Fortune” setting and its relations to contemporary lute sicians who, like him, pursued transnational careers (he sources. Emilie Corswarem presented a survey and assess- spent most of his professional life in the Spanish Nether- ment of the organ repertoire of early seventeenth-century lands) and have subsequently been neglected in a tradi- Liège. Pieter Dirksen reconstructed Orlando Gibbons’s tion of historiography shaped by the nineteenth-century continental relations, based on documentary and particu- category of “national schools.” A more recent approach, larly musical evidence. Arne Spohr examined the career focusing on cultural agency and the study of networks rath- of one of Philips’s contemporary English expatriates, the er than national paradigms (originally developed in the violinist-composer William Brade, demonstrating how this disciplines of cultural and literary history), has opened up musician used political and dynastic networks for his own new perspectives for musicology. How fruitfully these cat- professional and social advancement. A session devoted egories can be applied to musicological research could be to early modern Italy and Sicily (with Ilaria Grippaudo, witnessed at the conference at the University of Aberdeen. Abigail Ballantyne, and Naomi Barker) provided highly During four beautiful days of early spring, scholars and insightful case studies of musical and social networks in performers from Belgium, Canada, Germany, Italy, the this area. Finally, Jane Flynn and Hector Sequera offered Netherlands, the United Kingdom, and the United States useful insights into the social and musical networks of had the rare and exciting opportunity to discuss in depth English recusants. Peter Philips’s life and music as well as, in more general A special feature of this conference were four con- terms, the diversity of networks of musicians, writers, and certs, featuring Pieter Dirksen (organ), Hank Knox (harp- other artists in early modern Europe. In his introductory sichord), the Rose Consort of Viols, and, in the final con- paper, David J. Smith gave a fascinating overview of the cert—“The Travels and Music of Peter Philips”—Rachelle complex religious, social, and musical networks surround- Taylor and David J. Smith (harpsichord), the Rose Con- ing Philips, particularly Philips’s involvement in the conti- sort, and the choir of King’s College Chapel, Aberdeen. nental Catholic network and its espionage, his relationship These were all first-rate performances that offered a rare with Italian merchants, and his meeting with Sweelinck, opportunity to experience the beauty of Philips’s music which led to a mutual exchange of styles and ideas. and compare it to works of his English and continental Three more papers focused on Philips’s life and music: contemporaries. — A. S. Anne E. Lyman presented her newly discovered archival evidence regarding Philips’s participation as musician and Johannes (Jan) Voorhout, Domestic Music Scene (1674) benefactor in the religious Confraternity of Our Lady at Brussels, thus adding significantly to what has been known about his activities in the Spanish Netherlands. Specifically addressing Philips’s music, Frauke Jürgensen and Rachelle Taylor presented again their comparative stylistic analysis of the Passamezzo Pavans by William Byrd and Peter Phil- ips. On similar lines of analysis, Peter van Kranenburg and Johan Zoutendijk offered a computer-based pattern-rec- ognition approach regarding repeated melodic elements in keyboard works by Philips and some of his contempo- raries.

Vol. 21, No. 1 17th-Century Music  7 Report of the Newsletter Editor (Roger Freitas) of the Society; maintain close liaison with the chair of The editor reported a slight increase in fees over last the Program Committee and the local organizer for the Society for Seventeenth-Century Music year due in part to the increased size of the fall issue. The annual conference; call the annual meeting and such spring issue has been delayed because essential material was other meetings of the membership that are deemed Annual Business Meeting received late. Freitas asked members to let him know about necessary; preside at meetings of the Society; and additional conferences that might be covered in future perform such other duties that are usually inherent in School of Music, University of Minnesota; Minneapolis, Minnesota issues. He reported that Kimberly Parke will be the new such office. Saturday, April 9, 2011; 12:30–1:30 p.m. contributor of the “Letter from Australasia.” In response to Article 4, paragraph 3b: congratulations from the floor on the fall 2010 issue, Freitas The Vice President shall act as President in the absence thanked the contributors and expressed his appreciation of of the President; serve as coordinator of any conferences, Minutes the production staff at the Eastman School of Music. festivals, workshops, seminars or study sessions that may be scheduled; and perform such other acts as the Announcement of Next Annual Conference President may from time to time direct. Call to Order and President’s Welcome (Lois Rosow) International Heinrich Schütz Festival in Kassel, Germany, (New York, 2012) and Symposium Plans Article 6: The President welcomed all present. She congratu- will appear in the spring Newsletter. The next festival will (Utrecht, 2012) (Lois Rosow) 1. The officers of the Society shall be elected by the lated Kelley Harness, local arrangements chair, on the ex- take place in Hanover, Germany, September 29 to October The president reported that the Juilliard School of Music membership by a mail ballot. Candidates for office shall cellent setting and arrangements, and the members of the 3, 2011, and will focus on music at the Guelf courts of Lower has regretfully canceled its plans to host our 2012 annual be nominated by a Nominating Committee appointed Program Committee on the successful program: John Hajdu Saxony. Noting that the Schütz Society supports early music conference. Thanks to arrangements made by Georgia by the President in consultation with the other members Heyer (chair), Arne Spohr, Stefanie Tcharos, and Shirley in general, Johnston urged SSCM members to join. Cowart, the Department of Musical Instruments at the of the Governing Board. Ballots shall be prepared by Thompson. She thanked the School of Music, University of Metropolitan Museum of Art will host it instead. Cowart will the Chair of the Nominating Committee and mailed Minnesota, for its hospitality and support. Rosow introduced Report of the Editor-in-Chief, JSCM (Kelley Harness) serve as our liaison to the Museum; Barbara Hanning will provided to the members by August 25 July 25 of the last year’s winner of the Irene Alm Prize, Patrick Wood, in In her capacity as local arrangements chair, Harness coordinate other aspects of local arrangements; and Shirley third year of service of the officers. Completed ballots attendance as the Society’s guest, and the recipients of the thanked the large army of volunteers — students led by Thompson will chair the Program Committee. Proposals shall be postmarked by October 10 thereafter, submitted Travel Grant, Matthew Henson and Emily Wilbourne. She Joe Matson — who helped keep the conference running dealing with organology and iconography will be particularly no later than six weeks before the autumn meeting of thanked Tom Dunn, Book Exhibit Manager, and the mem- smoothly. welcome. The conference dates are April 19–22; the hotel the Governing Board, and votes shall be counted by a bers of the Travel Grant Committee: Kimberlyn Montford As editor-in-chief of JSCM, she then turned to the is the Courtyard by Marriott, East 92nd Street near First neutral party. The new officers shall take office at the (chair), Don Fader, and Robert Shay. “bombshell” that hit the Journal just before the annual Avenue (at an excellent conference rate of $169 per night). annual Spring conference; in the event that no Spring conference a year ago: a seven-fold increase in fees demanded Because the Museum is closed on Thursday evening, there conference is held, the new officers shall be installed by Approval of the Minutes by the University of Illinois Press (UIP) in the event that will be no reception at the host institution; instead members April 30. The minutes of the March 5, 2010, Annual Business SSCM was to renew its contract after 2010. The governing will be invited to spend the evening “on your own in the Meeting were approved as submitted. board eventually negotiated a one-year extension of the UIP Big Apple,” with suggestions for activities supplied well in Other New Business and Announcements from the Floor contract at a fee of $7,150 to buy time while looking into advance. Members responded positively to the idea of a Two upcoming conferences were announced: the 15th alternatives. The president charged an ad hoc committee Friday breakfast reception, proposed from the floor. Biennial International Conference on Baroque Music, July Report of the Treasurer with that exploratory task: Jeffrey Kurtzman (chair), Bruce As Rosow reported at the informal business meeting 12–15, 2012, in Southampton, UK; and “Early Modern (Susan Lewis Hammond, in absentia) Gustafson, Kelley Harness, and Alexander Silbiger. The last fall, the Society has been invited to sponsor a scholarly Women in the Arts: An Interdisciplinary Symposium,” at The president shared the treasurer’s financial summary governing board recently approved a two-year contract with symposium at the 2012 Utrecht Early Music Festival, which West Chester University in Pennsylvania, on April 16, 2011. for 2010, which will also appear in the spring Newsletter. Paul Arroyo, our technician at UIP, who (with the permission will focus on “Sweelinck and the North German School.” Kelley Harness was to be the keynote speaker for the West The Society’s increase in dues has helped us meet our of his employer) will work for JSCM as a private contractor Some concern was expressed over the large number of events Chester symposium. commitments, and the Houston conference broke even, after the 2011 contract expires. Kurtzman noted that server of interest to SSCM members taking place in summer 2012. Alexander Silbiger announced the completion and thanks to generous funding from the host institution, costs and Arroyo’s wages will be considerably less than we Nevertheless, members of the general public will be likely to launch of the Frescobaldi Thematic Catalogue Online (FTCO), Rice University. The Society encourages donations; for have been paying UIP, even before the increase in fees. attend the Utrecht symposium, as will musicologists who are frescobaldi.music.duke.edu, a database of nine hundred instructions see the website. In response to a query from the This summer Kurtzman will work with Arroyo to choose an present at the Festival. This symposium will have symbolic incipits, annotated with references to modern editions floor, the president confirmed our intention to put part of appropriate commercial server. Those present applauded importance as the first formal presence of the Society at an and scholarly literature. The catalogue will be continually our funds in a CD or other safe investment. the committee for these arrangements. event in Europe. updated; members are invited to contribute. Hammond thanked international members for their Beth Glixon, reviews editor, and Mary Paquette-Apt, copy Rosow invited members to let her know if they wish to patience with the membership renewal process. PayPal had editor, have agreed to continue for another term. Volume host a future SSCM annual conference. frozen SSCM’s original account. She has opened a new 15, Gustafson’s final volume as editor-in-chief, will appear Conferral of Honorary Membership PayPal account; for the address see the website or Newsletter. in the next few months. Harness reported having material By unanimous approval of the governing board, the Despite a much improved process in 2010 over that in 2009, New Business president conferred honorary membership upon Jeffrey in hand through volume 17. She thanked those who have The following changes to the By-Laws were approved by some members present reported that they still did not receive participated in peer-review of articles. Kurtzman, founding president of the Society. Rosow thanked Hammond’s e-mail notification of their membership status. acclamation. The first three bring the By-Laws into line with the nominating committee—Candace Bailey (chair), It was suggested that she include a request to “hit reply,” so actual practice; the fourth facilitates a smoother transition Jennifer Williams Brown, and Fred Gable—for the detailed each member confirms receipt. Report of the Editor-in-Chief, WLSCM between governing boards: and comprehensive dossier they compiled. Expressing his Tom Dunn, book exhibit manager, took this moment (Alexander Silbiger) Article 4, paragraph 1: deepest gratitude, Kurtzman responded, “At the time I to remark that all prices had been reduced on remaining The editor-in-chief reported on the latest editions Each specialty group recognized by the Governing Board thought that the most important thing that I could do in books, and the president reminded members that the book posted at the website: no. 20, Richard Kolb’s edition of arias shall select nominate its representative to the Governing my life would be to start the Society, not only to support the exhibit benefits the Society financially. by Tenaglia (one of which Kolb had just discussed in his Board in its own manner and shall determine the length study of seventeenth-century music, but also to support the conference paper), and no. 21, David Dolata and Margaret of service of that representative on the Governing scholars who study that music.” Now, twenty years later, he Murata’s edition of spiritual monodies by Kapsperger, with Board. remarked, he knows that he was right. Report of the Schütz Society Representative continuo realizations for theorbo by Dolata. Silbiger invited Article 4, paragraph 3a: (Gregory Johnston) members to keep contributing and also to keep watching: The President shall supervise all activities of the Society; Respectfully submitted, Johnston congratulated Kelley Harness and her graphic the WLSCM site may have a “face-lift,” and more editions are execute all instruments on its behalf; execute bank drafts Antonia L. Banducci, secretary designer on the engraving from Praetorius reproduced on the on the way. He thanked the anonymous peer-reviewers, as or write checks on the Society’s funds in absence of the [email protected] cover of the program booklet. Johnston’s report on last fall’s well as Associate Editor Janette Tilley. Treasurer; maintain close liaison with the other officers

8  Vol. 21, No. 1 17th-Century Music Report of the Newsletter Editor (Roger Freitas) of the Society; maintain close liaison with the chair of The editor reported a slight increase in fees over last the Program Committee and the local organizer for the Society for Seventeenth-Century Music year due in part to the increased size of the fall issue. The annual conference; call the annual meeting and such spring issue has been delayed because essential material was other meetings of the membership that are deemed Annual Business Meeting received late. Freitas asked members to let him know about necessary; preside at meetings of the Society; and additional conferences that might be covered in future perform such other duties that are usually inherent in School of Music, University of Minnesota; Minneapolis, Minnesota issues. He reported that Kimberly Parke will be the new such office. Saturday, April 9, 2011; 12:30–1:30 p.m. contributor of the “Letter from Australasia.” In response to Article 4, paragraph 3b: congratulations from the floor on the fall 2010 issue, Freitas The Vice President shall act as President in the absence thanked the contributors and expressed his appreciation of of the President; serve as coordinator of any conferences, Minutes the production staff at the Eastman School of Music. festivals, workshops, seminars or study sessions that may be scheduled; and perform such other acts as the Announcement of Next Annual Conference President may from time to time direct. Call to Order and President’s Welcome (Lois Rosow) International Heinrich Schütz Festival in Kassel, Germany, (New York, 2012) and Symposium Plans Article 6: The President welcomed all present. She congratu- will appear in the spring Newsletter. The next festival will (Utrecht, 2012) (Lois Rosow) 1. The officers of the Society shall be elected by the lated Kelley Harness, local arrangements chair, on the ex- take place in Hanover, Germany, September 29 to October The president reported that the Juilliard School of Music membership by a mail ballot. Candidates for office shall cellent setting and arrangements, and the members of the 3, 2011, and will focus on music at the Guelf courts of Lower has regretfully canceled its plans to host our 2012 annual be nominated by a Nominating Committee appointed Program Committee on the successful program: John Hajdu Saxony. Noting that the Schütz Society supports early music conference. Thanks to arrangements made by Georgia by the President in consultation with the other members Heyer (chair), Arne Spohr, Stefanie Tcharos, and Shirley in general, Johnston urged SSCM members to join. Cowart, the Department of Musical Instruments at the of the Governing Board. Ballots shall be prepared by Thompson. She thanked the School of Music, University of Metropolitan Museum of Art will host it instead. Cowart will the Chair of the Nominating Committee and mailed Minnesota, for its hospitality and support. Rosow introduced Report of the Editor-in-Chief, JSCM (Kelley Harness) serve as our liaison to the Museum; Barbara Hanning will provided to the members by August 25 July 25 of the last year’s winner of the Irene Alm Prize, Patrick Wood, in In her capacity as local arrangements chair, Harness coordinate other aspects of local arrangements; and Shirley third year of service of the officers. Completed ballots attendance as the Society’s guest, and the recipients of the thanked the large army of volunteers — students led by Thompson will chair the Program Committee. Proposals shall be postmarked by October 10 thereafter, submitted Travel Grant, Matthew Henson and Emily Wilbourne. She Joe Matson — who helped keep the conference running dealing with organology and iconography will be particularly no later than six weeks before the autumn meeting of thanked Tom Dunn, Book Exhibit Manager, and the mem- smoothly. welcome. The conference dates are April 19–22; the hotel the Governing Board, and votes shall be counted by a bers of the Travel Grant Committee: Kimberlyn Montford As editor-in-chief of JSCM, she then turned to the is the Courtyard by Marriott, East 92nd Street near First neutral party. The new officers shall take office at the (chair), Don Fader, and Robert Shay. “bombshell” that hit the Journal just before the annual Avenue (at an excellent conference rate of $169 per night). annual Spring conference; in the event that no Spring conference a year ago: a seven-fold increase in fees demanded Because the Museum is closed on Thursday evening, there conference is held, the new officers shall be installed by Approval of the Minutes by the University of Illinois Press (UIP) in the event that will be no reception at the host institution; instead members April 30. The minutes of the March 5, 2010, Annual Business SSCM was to renew its contract after 2010. The governing will be invited to spend the evening “on your own in the Meeting were approved as submitted. board eventually negotiated a one-year extension of the UIP Big Apple,” with suggestions for activities supplied well in Other New Business and Announcements from the Floor contract at a fee of $7,150 to buy time while looking into advance. Members responded positively to the idea of a Two upcoming conferences were announced: the 15th alternatives. The president charged an ad hoc committee Friday breakfast reception, proposed from the floor. Biennial International Conference on Baroque Music, July Report of the Treasurer with that exploratory task: Jeffrey Kurtzman (chair), Bruce As Rosow reported at the informal business meeting 12–15, 2012, in Southampton, UK; and “Early Modern (Susan Lewis Hammond, in absentia) Gustafson, Kelley Harness, and Alexander Silbiger. The last fall, the Society has been invited to sponsor a scholarly Women in the Arts: An Interdisciplinary Symposium,” at The president shared the treasurer’s financial summary governing board recently approved a two-year contract with symposium at the 2012 Utrecht Early Music Festival, which West Chester University in Pennsylvania, on April 16, 2011. for 2010, which will also appear in the spring Newsletter. Paul Arroyo, our technician at UIP, who (with the permission will focus on “Sweelinck and the North German School.” Kelley Harness was to be the keynote speaker for the West The Society’s increase in dues has helped us meet our of his employer) will work for JSCM as a private contractor Some concern was expressed over the large number of events Chester symposium. commitments, and the Houston conference broke even, after the 2011 contract expires. Kurtzman noted that server of interest to SSCM members taking place in summer 2012. Alexander Silbiger announced the completion and thanks to generous funding from the host institution, costs and Arroyo’s wages will be considerably less than we Nevertheless, members of the general public will be likely to launch of the Frescobaldi Thematic Catalogue Online (FTCO), Rice University. The Society encourages donations; for have been paying UIP, even before the increase in fees. attend the Utrecht symposium, as will musicologists who are frescobaldi.music.duke.edu, a database of nine hundred instructions see the website. In response to a query from the This summer Kurtzman will work with Arroyo to choose an present at the Festival. This symposium will have symbolic incipits, annotated with references to modern editions floor, the president confirmed our intention to put part of appropriate commercial server. Those present applauded importance as the first formal presence of the Society at an and scholarly literature. The catalogue will be continually our funds in a CD or other safe investment. the committee for these arrangements. event in Europe. updated; members are invited to contribute. Hammond thanked international members for their Beth Glixon, reviews editor, and Mary Paquette-Apt, copy Rosow invited members to let her know if they wish to patience with the membership renewal process. PayPal had editor, have agreed to continue for another term. Volume host a future SSCM annual conference. frozen SSCM’s original account. She has opened a new 15, Gustafson’s final volume as editor-in-chief, will appear Conferral of Honorary Membership PayPal account; for the address see the website or Newsletter. in the next few months. Harness reported having material By unanimous approval of the governing board, the Despite a much improved process in 2010 over that in 2009, New Business president conferred honorary membership upon Jeffrey in hand through volume 17. She thanked those who have The following changes to the By-Laws were approved by some members present reported that they still did not receive participated in peer-review of articles. Kurtzman, founding president of the Society. Rosow thanked Hammond’s e-mail notification of their membership status. acclamation. The first three bring the By-Laws into line with the nominating committee—Candace Bailey (chair), It was suggested that she include a request to “hit reply,” so actual practice; the fourth facilitates a smoother transition Jennifer Williams Brown, and Fred Gable—for the detailed each member confirms receipt. Report of the Editor-in-Chief, WLSCM between governing boards: and comprehensive dossier they compiled. Expressing his Tom Dunn, book exhibit manager, took this moment (Alexander Silbiger) Article 4, paragraph 1: deepest gratitude, Kurtzman responded, “At the time I to remark that all prices had been reduced on remaining The editor-in-chief reported on the latest editions Each specialty group recognized by the Governing Board thought that the most important thing that I could do in books, and the president reminded members that the book posted at the website: no. 20, Richard Kolb’s edition of arias shall select nominate its representative to the Governing my life would be to start the Society, not only to support the exhibit benefits the Society financially. by Tenaglia (one of which Kolb had just discussed in his Board in its own manner and shall determine the length study of seventeenth-century music, but also to support the conference paper), and no. 21, David Dolata and Margaret of service of that representative on the Governing scholars who study that music.” Now, twenty years later, he Murata’s edition of spiritual monodies by Kapsperger, with Board. remarked, he knows that he was right. Report of the Schütz Society Representative continuo realizations for theorbo by Dolata. Silbiger invited Article 4, paragraph 3a: (Gregory Johnston) members to keep contributing and also to keep watching: The President shall supervise all activities of the Society; Respectfully submitted, Johnston congratulated Kelley Harness and her graphic the WLSCM site may have a “face-lift,” and more editions are execute all instruments on its behalf; execute bank drafts Antonia L. Banducci, secretary designer on the engraving from Praetorius reproduced on the on the way. He thanked the anonymous peer-reviewers, as or write checks on the Society’s funds in absence of the [email protected] cover of the program booklet. Johnston’s report on last fall’s well as Associate Editor Janette Tilley. Treasurer; maintain close liaison with the other officers

Vol. 21, No. 1 17th-Century Music  9 Conference Report: Music and Liturgical Reform, 1611 to the Present Valencia (University of Valencia), June 29–July 2, 2011 by Greta Olson an Juan de Ribera (1532–1611) is San Juan and the effects of liturgical (1601) on the litany, and the growth lauded as one of the primary ec- reform on later music. A total of twen- of non-Marian litanies; Ferran Escrivà Sclesiastical reformers in late six- ty-nine scholars participated, from Llorca (Universidad Politécnica de teenth-century Spain. He frequently Europe and the United States, eight Valencia) dealt with the application of visited local churches in the province of them spoke on topics related to the Tridentine decrees and canons in the of Valencia to ensure the implementa- seventeenth century. Valencian archdiocese; Josep Antoni tion of Tridentine directives. His em- Two of the keynote addresses were Alberola i Verdú (independent schol- phasis on liturgical reform became the relevant. Todd Borgerding (Colby ar) detailed a newly discovered early genesis for this conference, which ex- College) discussed Seville Cathedral seventeenth-century Jeronimite man- amined issues related to liturgical re- and how its ceremonials changed. uscript of Valencian origins with mu- form and its effects on music from San Perhaps most remarkably, one year sic for Holy Week; Abel Puig i Gisbert Juan’s era to the present day. The event after accepting the new Roman rite, (Pontificio Instituto di Music Sacra was organized and supported by the Seville Cathedral began deviating from di Roma) spoke on connections and Institut Valencià de la Música, the Real that rite to resume practices that had similarities in the liturgical documents Colegio-Seminario del Corpus Christi, been traditional there for more than by San Carlo Borromeo and San Juan and the University of Valencia. two hundred years. Jeffrey Kurtzman de Ribera; and finally, Greta Olson The conference was scheduled (Washington University at St. Louis) (Chinese University of Hong Kong) around the octave of Corpus Christi spoke on the effects of the Breviarium looked at two different aspects of (falling on the second day of the con- romanum (1568), Missale romanum San Juan de Ribera’s support for mu- ference), which was celebrated with an (1570), and Caeremoniale episcopo- sic and musicians: his expenditures elaborate Vespers and Compline ser- rum (1600) on musical style. for performances at processions and vice at the Colegio-Seminario, one of Six other papers dealt with sev- other events with a liturgical or devo- the institutions founded by San Juan enteenth-century topics. Michael tional connection, and his support for (and located immediately across the O’Connor (Palm Beach Atlantic the revision of plainsong, especially street from the old buildings of the University) looked at Marian motets evident in his encouragement of the University). The conference began in the early seventeenth century, es- Processionarium of 1578 and its updat- by looking at musical patrimony and pecially those by Juan de Esquivel; ed melodies and texts. heritage conservation, then continued Bob Kendrick (University of Chicago) The conference was complement- with sessions on music at the time of explored the effects of Sanctissimus ed by an exhibition of newly restored music manuscripts, prepared by the San Juan de Ribera, Colegio del Patriarca, Valencia Institut Valencià de Conservació i Restauració de Béns Culturals (IVACOR) and held in the refectory of the Colegio-Seminario. Three tours— of the paper restoration workshop run by IVACOR at the University, of the archives of the Valencia Cathedral, and of the archives and church of the Colegio-Seminario—helped fill the day prior to the festive church services. In addition to the services already mentioned, concerts focused on liturgical music largely from the seventeenth and eighteenth centuries. The Capella Saetabis i Cor Almodí, along with the dancers from the Conservatory of Dance, performed a recreation of the Danzas al Santísimo by Juan Bautista Comes. Later, Vitoria Musicae, directed by Josep Ramon Gil- Tárrega, offered music for the Office of Compline (by Máximo Ríos, Antonio Ortells, Aniceto Baylon, José Hinojosa, Marcos Pérez) and concluded with the Letanías al Santísimo Sacramento by Juan Bautista Comes. Both concerts were held in the cloister of the University.

10  Vol. 21, No. 1 17th-Century Music Conference Report: Historical Keyboard Music: Sources, Context, and Performance

by Janet Pollack he first international conference nation of a group of devoted solely to historical key- Roman manuscripts, Tboards and their music took Jeanneret revealed place in Edinburgh, Scotland, July 1–3, Frescobaldi at his 2011, under the auspices of the School daily practice, jotting of the Arts, Culture, and Environment down short, some- of the University of Edinburgh. The times rudimentary conference offered a rich and varied exercises for his pu- program not bound by any particular pils. historical timeframe, with topics ran- The afternoon ging from an empirical investigation sessions offered a of tuning systems in fifteenth-century smorgasbord of sev- keyboard music, to a reconsideration of enteenth-century pa- pers, with one session C. P. E. Bach’s contributions to keyboard hundred years Frescobaldi’s music was exploring William Byrd’s keyboard pedagogy, to the early twentieth- regularly being copied, published, or music and another considering sourc- century recordings of Rachmaninoff’s reworked. es of the period in general. In the Byrd solo piano works. The majority of Two papers presented in a late after- session, chaired by John Irving, Walter papers focused on eighteenth-century noon session chaired by Peter Holman Kreyszig looked at My Ladye Nevells topics (approximately twenty-one) with were also relevant to the SSCM, as both Booke — a collection of Byrd’s keyboard inquiries into the seventeenth and looked to seventeenth-century solo pieces from 1570 to 1590 — and con- nineteenth centuries divided equally repertoire as models for continuo re- sidered the purpose of the repertory (roughly eight each); topics concerned alization. Thérèse de Goede’s carefully and how the collection intentionally il- with the fifteenth, sixteenth, and researched lecture-recital examined lustrates the move from the older poly- twentieth centuries were represented Frescobaldi’s canzonas for bass string phonic style (stile antico) to the stile by one paper each. The admirable aim instrument and continuo, pointing moderno with its more modern progres- of the conference was to bring together out that the bass solo is identical to sions. David J. Smith encouraged us to performers, museum curators, piano the continuo line and that a strictly eschew a linear conception of style de- technicians, and musicologists to share chordal accompaniment would not be velopment in English keyboard danc- their diverse expertise and to consider satisfying. For compositional ideas, de es by proposing a composer “hub,” whether or not “keyboard studies” is Goede looked to Frescobaldi’s solo key- centered on William Byrd, where com- a viable field in the current academic board canzonas. Lars Henrik Johansen positional strategies were exchanged. environment. showed how the broken style of contin- My presentation on the newly discov- The conference took place at two uo playing affects the overall aesthetics ered Cramer-Byrd manuscripts—three principal locations: the Department of of the music. The day concluded with a keyboard pieces by Byrd taken from Music (Alison House) and St. Cecilia’s recital by Robert Hill playing the twelve Parthenia and adapted for the piano- Hall, the home of the unrivaled Russell polonaises of W. F. Bach. I understand forte by Johann Baptist Cramer—ar- and Mirrey Collections of historical that the conference banquet that eve- gued for the ongoing influence of keyboards. Since papers were read at ning was a culinary triumph. Byrd’s keyboard music in early nine- three sessions simultaneously, it was Although there were several fine teenth-century London. In the si- impossible to attend all the enticing pa- papers on Sunday, only two focused multaneous session examining sev- pers, the only regrettable aspect of an on seventeenth-century issues. Luciana enteenth-century sources, chaired by otherwise stellar event. The conference Camara offered her insight into the re- Noel O’Regan, Barbara Cipollone dis- opened on Friday evening with a tour lationship between seventeenth-century cussed the complex problems of edit- of St. Cecilia’s collection followed by freestyle repertoire for the harpsichord ing the Libro di Fra Gioseffo da Ravenna, an organ recital by the University’s or- and the concept of subjectivity in early one of the largest early anthologies of ganist John Kitchen. Following the re- modern Europe, and Peter Mole con- seventeenth-century Italian keyboard cital, an informal tour of Edinburgh’s sidered evidence for configuring the music. Heather Windram examined famous Royal Mile was provided. upper manual of an early double-man- features of the slim pedagogical Music Saturday morning began with three ual harpsichord so that it only played Manuscript 2093 at the Royal College sessions dealing with the eighteenth the four-foot choir of strings. Not to be of Music, observing the notation and and nineteenth centuries, followed by missed was Terence Charlston’s mini- scribal hand and exploring the didac- shorter one-hour sessions that bridged recital of several English keyboard tic function of the text. And Alexander the gap between morning and after- works. Later that afternoon Charlston Silbiger presented preliminary re- noon papers. Most relevant to SSCM presented the John Barnes Lecture, sults of his study of the reception of members was Christine Jeanneret’s an excellent investigation into musical Frescobaldi’s music: based on data excellent lecture on Roman sources taste as revealed in late seventeenth- for Italian keyboard music in the sev- collected for his online thematic cata- enteenth century. Through her exami- logue, Silbiger suggested that for four continued on page 19

Vol. 21, No. 1 17th-Century Music  11 “Manhattan”: SSCM 2012 continued from page 1 Crossing Fifth Avenue and walking Our meeting site is in the neighbor- one block east, we’ll come to Madison hood of the elegant Upper East Side, Avenue with its array of fine restaurants where the Metropolitan Museum at and shops. And further east, accessible Fifth Avenue and East 82nd Street via the crosstown bus or by a twenty-five borders Central Park, the first to thirty-minute walk (1.2 miles), is the landscaped public park in the country. chosen hotel, the Courtyard by Marriott Colloquially known as the Met, the Manhattan Upper East Side, at 410 East Museum owns more than two million 92nd Street near First Avenue, where the objects and boasts a collection of convention rate is only $169 per night. Egyptian art second only to Cairo’s. Its The city is served by three airports: JFK, building lies at the southern end of the La Guardia (LGA), which is the closest, classy stretch of Fifth Avenue known and Newark (EWR). Those traveling by as “Museum Mile,” which includes rail or bus will arrive at Grand Central, the Museum of the City of New York, Penn Station, or the Port Authority Bus The Cooper-Hewitt National Design Terminal. Instructions for getting to Museum, the Jewish Museum, the the hotel by public transportation will Guggenheim Museum, El Museo del be on the hotel’s registration website Barrio, and the Neue Galerie, among and on the Society’s conference page, others. A few blocks further south ropolitan Opera has no performance which should be accessible in January. scheduled, but among the many other of the Met is the astounding Frick (Graduate students may wish to check collection, housed in the industrialist’s exciting venues on the Upper West that page eventually for alternative ac- former mansion. Our center of gravity Side are Avery Fisher Hall, where guest commodation suggestions.) during the conference, however, will be conductor Herbert Blomstedt will lead the Met itself. In addition to the paper the New York Philharmonic in Tchai- sessions, the Museum will enable small- The city’s clamor can never spoil … kovsky’s Symphony No. 5 and Mozart’s group tours of some of the galleries The dreams of a guy and goil. Piano Concerto No. 9 (“Jeunehom- (including the fabulous musical me”) with Garrick Ohlsson; Carnegie’s instruments collection) and will host With a wealth of entertainment Weill Recital Hall, where the Brentano a private concert in the Museum’s possibilities to choose from, the confer- String Quartet will perform Busoni’s Patron’s Lounge overlooking Central ence planners felt that attendees would No. 2 and Beethoven’s Op. 130 and the

Park. The concert, on Saturday appreciate having Thursday night free Grosse Fuge ; and Alice Tully Hall, where evening and preceded by cocktails to explore concerts and night life on the Chamber Music Society of Lincoln and light refreshments, will feature their own. At the same time, they urge Center usually holds audiences spell- Robert Mealy, playing the Museum’s attendees to reserve Friday and Satur- bound. 1693 Stradivari violin, along with the day nights for conference events. Rath- ensemble Juilliard 415. er than the traditional opening-night We’ll go to Greenwich Where reception, the Society will host a break- modern men itch To be free. We’ll have Manhattan The Bronx fast reception at the Museum on Friday and Staten Island too … morning before the sessions get under For those interested in less for- We’ll try to cross Fifth Aaaaaaav- e-nue. way. For Thursday night, opera buffs will mal nightlife, there are the jazz clubs be disappointed to learn that the Met- in Greenwich Village: the Blue Note, Small’s, or the legendary Village Van- guard, whose schedules are not yet posted for April. You might also like to head uptown to Jazz at Lincoln Cen- ter (www.jalc.org) to hear Taj Mahal & the Phantom Blues Band perform that weekend, or catch a late set at Dizzy’s Club Coca-Cola in the chic new Time Warner Center. Further listings and more details may be found on www.nyc- go.com and will eventually appear on the Society’s conference page as well.

And tell me what street Compares with Mott Street In July.

For the banquet, which will take

12  Vol. 21, No. 1 17th-Century Music Conference Report: SSCM 2011 in Minneapolis by Emily Wilbourne

he nineteenth annual con- cinating investigation of strumming at the precise interaction of specific ference of the Society for techniques in guitar accompaniments individuals with broader cultural phe- TSeventeenth-Century Music was to Italian canzonettas came close. In nomena, drawing on New Historical held at the School of Music, Ferguson and of itself, the absence of scholar- models of a contextual landscape in Hall, at the University of Minnesota, ship on instrumental music provides combination with musico-biographical Minneapolis, April 7–10, 2011. The an interesting commentary on the material. It is with biohistorically mo- meeting was well attended—indeed, state of our discipline. tivated theses that scholars as diverse there were so many musicologists on In a repertoire strongly weighted as Louise Stein, Valeria De Lucca, and my Minneapolis-bound flight that towards European performances and Hendrik Schulze can search, respec- someone behind me joked that were locales, the short session on “Sacred tively, for the “audible fingerprints” the plane to crash, seventeenth-centu- Music in the Colonial New World” of specific singers, the influence of ry music studies might never recover. stood out. In addition to Watkins’s the Colonna family in the collabora- The four days of the meeting were jam- paper, mentioned above, this session tive environment of Rome’s Teatro packed with intellectual, professional, included a paper from Drew Edward Tordinona, and the political motiva- and purely social rewards, not least of Davies on villancicos for the Virgin of tions behind changes to the draft of which were the scholarly papers them- Guadalupe in late seventeenth-cen- Minato and Cavalli’s Artemisia. selves. tury Mexico City. The “difference” of This epistemological habit can Twenty papers were organized into these two papers in relation to other be differentiated from much of the two full-length sessions of four papers presentations emerged most clearly theoretical and critical literature each and six shorter sessions of paired from the question and answer period, that emerged under the name “New papers. As is standard for SSCM gath- in which a completely different group Musicology” on at least two counts. erings, parallel sessions were avoided, of interlocutors spoke, performing, in In the first instance, biohistory avoids ensuring the collective participation of visual and aural counterpoint, a clear an explicit grafting of critical theory the Society at each presentation. Since scholarly divide. The content, however, or interpretive strategies onto musi- the program and abstracts remain differed in degree, not in kind. Both cal repertoires; in the second, biohis- freely available from the SSCM con- Davies and Watkins were interested tory makes a deliberate reinvestment ference archive (www.sscm-sscm.org, in questions of locality and style, and in historical sources, giving particular click on SSCM Conference Archives), the interaction of imported European value to new or previously overlooked it seems opportune to use this space to traditions and aesthetics with exist- documents. At the level of gross sim- discuss some of the themes and topics ing regional practices. As such, either plification, we might say that biohis- that emerged rather than merely sum- paper could easily have avoided the tory sublates positivistic scholarship marize the papers. regional bracket and been paired up and critical, interpretive work into a Perhaps unsurprisingly, opera pre- with other, Eurocentric offerings, such workable synthesis. dominated as the genre of scholarly as Goulet’s paper on the Italian musi- Seventeenth-century music is but choice. As well as panels on “Opera cal tastes of wealthy French migrants a small field in a relatively minor disci- across Europe” (four papers), “Musical or Esther Criscuola de Laix’s paper pline, and the papers at one conference and Poetic Devices in Early Opera” on German art-music appropriations provide a necessarily limited sample. (two), and “Opera as Message” (two), of miners’ songs. Interestingly, and at Still, I am always fascinated by the points three out of four papers in the open- this juncture perhaps inevitably, schol- of intellectual cohesion that emerge un- ing session, “Success and Failure in arly work on colonial musical cultures der precisely such circumstances. Patronage,” dealt with an operatic rep- makes more liberal use of ethnomu- A special commendation is due ertoire, as did one paper in the short sicological vocabularies and concepts to the conference organizer, Kelley session, “Comparing Italians,” and than does work on European locales, Harness, who not only dealt with the one in “Singers and their Professions.” even where the more traditionally standard logistical complications of In addition, four other papers con- musicological studies deal with trans- her task with competence and grace, centrated almost exclusively on vocal planted musical traditions, such as but also managed to provide truly deli- genres (both sacred and secular cham- the broad diffusion of opera beyond cious and healthy food options to the ber), and the remaining two presenta- Italian boundaries. conference participants. One of the tions included vocal music among the Based purely on the presentations most frustrating elements of confer- repertoires discussed. Both these lat- at SSCM 2011, it might seem that the ence travel is the difficulty of locat- ter papers — one by Anne-Madeleine branches of seventeenth-century mu- ing affordable and palatable food in a Goulet on the semi-private music mak- sicology that focus on Europe have strange city during the brief opportu- ing of the Princesse des Ursins and her found little use for ethno-historical nities afforded by a packed schedule, social circle, and one by Tim Watkins approaches; instead, the majority and the evident care that Prof. Harness on a new (and non-urban) source of tended towards a specifically historical had put into these matters enhanced Guatemalan music — dealt with the scholarly method that I shall call bio- my enjoyment of the 2011 event. While repertoires of a specific locale. There history. This methodology — deployed I freely admit to a personal fixation on were no papers, that is, that dealt ex- at SSCM 2011 to describe and explain food, I heard my sentiments echoed clusively with an instrumental reper- the legacies of patrons, performers, by a number of colleagues during the toire, although Alexander Dean’s fas- composers, and arrangers — is aimed conference itself.

Vol. 21, No. 1 17th-Century Music  13 CONFERENCE ANNOUNCEMENTS

Calls for Papers or Manuscripts

Deadline for Abstracts: December 2, 2011 of the music related to it always been the same or have both Antiqua/Nova: Celebrating the Harpsichord changed over time? In other words, does the “heroic,” de- across the Centuries spite cultural historical revolts and changes, possess concep- University of Cincinnati College–Conservatory of tual constants that can also be proven in the music, or does Music, Cincinnati, OH; March 21–25, 2012 the term’s continuity manifest itself in little more than family The joint meeting of the Midwestern and Southeastern resemblances (in the sense of Wittgenstein)? Historical Keyboard Societies will be held at the University The conference aims to provide insights in the fields of of Cincinnati College–Conservatory of Music, March 21–25, both musicology and cultural history. On the one hand, 2012. Proposals for papers, mini-recitals, or lecture-recitals are its goal is the systematic understanding of the heroic in invited on topics relating to historical keyboard instruments music, i.e., its manifestation in diverse musical means from and repertoire. All presentations are limited to twenty-five antiquity to the present. On the other, the exploration of minutes, with five minutes reserved for discussion. Proposals musical phenomena is expected to broaden the horizon of should be submitted electronically and should include a knowledge on the heroic, heroicization, and narratives of the brief biography and contact information. For papers, submit hero in cultural, social, and political history; in this way, it an abstract (250 words); for mini-recitals and lecture-recitals, aims to contribute to a deeper understanding of the various include program details with a representative recording concepts of the heroic throughout history. (electronic attachment or internet link only). Send proposals Conference languages will be German and English. (and questions) to: historicalkeyboard2012 at gmail.com. A Preference will be given to proposals that promise new insights full meeting website will be available at historicalkeyboard- in both cultural history and musical analysis. The number of society.org in early November. Society websites may be found words should be limited to 250. Proposals are to be sent to at www.sehks.org and www.mhks.org. beate.kutschke at arcor.de or rainer.bayreuther at muwi.uni- freiburg.de. The conference is being organized and directed Deadline for Abstracts: December 31, 2011 by Dr. Beate Kutschke (Institut für Musikwissenschaft, The Heroic in Music: Diverse Meaning Universität Leipzig, Goldschmidtstraße 12, 04103 Leipzig) and Musical Analysis and PD Dr. Rainer Bayreuther (Musikwissenschaftliches Leipzig, Germany; September 13–15, 2012 Seminar der Universität Freiburg, Platz der Universität 3, Throughout European art music history, the “heroic” 79095 Freiburg i.Br). has been established as a central concept to describe and interpret musical phenomena. Associations with heroic Deadline for Abstracts: January 15, 2012 characteristics, emotions, and actions led to attribution of 15th Biennial International Conference on Baroque Music heroic character to the compositional style of Beethoven’s University of Southampton, Southampton, UK; middle period, the voice type “heldentenor,” and baroque July 11–15, 2012 genres (opere and cantate eroiche). Recent research on master Proposals in any area of baroque music are invited for: performers has elucidated the intertwinement of virtuosity 1) Individual papers of twenty minutes duration (followed by and heroicization. questions and discussion). Speakers will be grouped into The significance that the heroic possesses for musical sessions of three or four papers in related areas. discourse contrasts sharply with the vagueness with which the 2) Round-table sessions of one-and-a-half hours, including term has been applied to heterogeneous musical phenomena, discussion. works, and styles. Usually, if musicologists have availed The organisers anticipate that individual papers (1) and themselves of the term “heroic” in order to characterize some sessions with multiple participants (2) will be presented music, the term’s concrete denotations and connotations in simultaneous strands, grouped by subject areas. Those have not been explicitly defined. Consequently, the “heroic” areas will be determined by the nature of the proposals as a category to describe musical means and styles is plausible received. Individuals may submit one proposal in the form of only at first glance. an abstract of not more than 250 words (individual papers) In this light several questions arise: which composi- or not more than 350 words (group sessions). Acceptance tional and/or performance-related means have evoked as- of a proposal will be at the discretion of the organizers. sociations with heroic ideas and attributes (in the past and The abstract should be preceded by information under the present)? What types of discourse on the heroic or the the following headings: Name, Institution, Postal Address, hero, as the basis of these associations, is prevalent during a Phone, Fax, E-mail Address. Abstracts may be: specific time period? Moreover, which concepts of the hero 1) e-mailed to Andrew Pinnock (baroque.conference@soton. have dominated music historiography and to what degree ac.uk). Attachments (in MS word file or .rtf format) are did they influence the understanding and the evaluation of preferred for the text of abstracts, but please back up the music? And—a question for the final discussion of the con- attachment with a plain-text version in the main email. ference—has the concept of heroism and the characteristics 2) posted to Andrew Pinnock, 15th Biennial International

14  Vol. 21, No. 1 17th-Century Music Upcoming Conferences December 1–3, 2011 “Perfect Harmony” and “Melting Strains”: Music in Early Modern Culture between Sensibility and Abstraction (Humboldt-University Berlin). For more information, Conference on Baroque Music, Music Department, visit hsozkult.geschichte.hu-berlin.de/termine/id=14944. Building 2, University of Southampton, Highfield, Southampton SO17 1BJ; telephone, +44 (0)23 8059 6048; June 6–12, 2012 fax, +44 (0)23 8059 3197 (but please send also an e-mail “All’ungaresca, al español”: The Variety of European copy as soon as possible, as in 1 above). Dance Culture from 1420 to 1820; Third Rothenfels Dance Symposium (Rothenfels Castle, Rothenfels, Deadline for Abstracts: January 15, 2012 Germany). For more information, contact conference “Bach and the Organ”: Biennial Meeting of the organizers Markus Lehner ([email protected]) American Bach Society or Uwe Schlottermüller ([email protected]). Eastman School of Music, Rochester, NY; September 27–30, 2012 June 15–17, 2012 Proposals for papers are invited for the meeting of the “Autour du clavecin d’autrefois”: A Tribute to Kenneth American Bach Society. All proposals will be considered, but Gilbert in Montreal (McGill University, Montreal, papers dealing with the organ’s role in chorales, concerted Canada). works, continuo practice, and freely improvised works will be favored. Conference performances will include improvisations June 21–23, 2012 as well as concerted works with obbligato organ parts by Bach Attending to Early Modern Women: Remapping Routes and his contemporaries. and Spaces (University of Wisconsin, Milwaukee; Mil- A one-page, double-spaced abstract (maximum 250 words) waukee, WI). For more information, visit www.atw2012. uwm.edu. should be submitted, preferably as an e-mail attachment in Microsoft Word, to Kerala Snyder, chair, ABS 2012 Program July 1–7, 2012 Committee, [email protected]. The mailing International Musicological Society (Rome, Italy). For address is 204 Canner Street, New Haven, CT 06511-2233, more information, visit www.ims2012.net. USA.

NEW MEMBERS The SSCM warmly welcomes the following new members who joined the Society between January 1 and September 15, 2011

Maria Virginia Acuna Megan Eagen Dan McCoy Arne Spohr Toronto, Canada Carrboro, NC Gravenhurst, Canada Bowling Green, OH

Michael Bane Jean Ferrard Danielle Nelson Derek Stauff Cleveland Heights, OH Brussels, Belgium Bloomington, IN Bloomington, IN Biancamaria Brumana Roseen Giles Reynaldo Patino Aurora, Canada Denton, TX Timothy Watkins Perugia, Italy Fort Worth, TX Anne-Madeleine Goulet Markus Rathey Karen Atkins Rome, Italy New Haven, CT Kristina Weiler Carrboro, NC Cedar Rapids, IA Laury Gutiérrez Robert Rawson Ireri Chavez-Barcenas Arlington, MA Canterbury, United Kingdom Andrew Woolley Princeton, NJ Edinburgh, United Kingdom Blanka Karnetova Marcie Ray Murray Dahm Prague, Czech Republic East Lansing, MI Francesco Dalla Vecchia Catherine Liddell Craig Russell Iowa City, IA Natick, MA San Luis Obispo, CA Luca Della Libera Megan Kaes Long Roger Christian Skarsten Rome, Italy New Haven, CT Saint Paul, MN

Vol. 21, No. 1 17th-Century Music  15 ARTES MUSICAE PERITI

Rebekah Ahrendt recently completed on Stage in Italian and French 17th- J. Cowart, Music and Letters 91, no. 2 (May the PhD at UC Berkeley with a dis- Century Operatic Laments and Mad 2010): 256–59. sertation entitled “A Second Refuge: Scenes.” The thesis—“A Music Research French Opera and the Huguenot Drama Thesis in a Prologue and 3 On August 11, 2011, the Bozen Migration.” She has accepted a two- Acts”—is available online at www.hsm. Baroque Orchestra (Bolzano, Italy), di- year Mellon Postdoctoral Fellowship gu.se/digitalAssets/1334/1334518_ rected by Claudio Astronio, performed in the Humanities at Tufts University. inlaga_020511_belgrano2.pdf. Alessandro Stradella’s oratorio Santa There she will begin work on a new Susanna as edited by Victor Crowther project, “The République of Music, Dr. Ruta Bloomfield is pleased to an- and published in the Italian National 1672–1713.” nounce her full-time appointment as as- Edition of Alessandro Stradella’s Opera sistant professor at The Master’s College Omnia, directed by Carolyn Gianturco. Linda Austern’s chapter on “Music in Santa Clarita, CA. The CD of the performance should ap- on the Jacobean Stage” appeared in pear within the year. John Powell’s edi- Suzanne Gossett’s Thomas Middleton in In August Esther Criscuola de Laix tion of Stradella’s thirty-six chamber Context (Cambridge University Press, joined the staff of A-R Editions as edi- arias, also published in the National 2011), 184–94. tor for Recent Researches and related Edition, has recently been recorded by publications. the same ensemble, which hopes to re- This spring Gregory Barnett was cord Stradella’s duets and terzet as well. awarded a residency at the Rockefeller Recently, Biancamaria Brumana has Foundation Bellagio Center and an published a number of items, which Catherine Gordon-Seifert would like ACLS fellowship. These are in support she notes here by way of introduction to to announce that her book, Music and of a book project that is provisionally en- the membership of the Society. She has the Language of Love: Seventeenth-Century titled Emblems of Authority: The Modes in authored “Il pianto de’ cigni in morte del- French Airs, was published by Indiana Italian Baroque Music. la fenice de’ musici”: Poesie per Baldassarre University Press and released in March Ferri e nuove ipotesi sulla carriera del can- 2011. Kimberly Beck Seder received an Ernst tante (Perugia: Deputazione di Storia Mach-Stipendium from the Austrian Patria per l’Umbria, 2010). Also, she Massimiliano Guido has moved to Agency for International Mobility and has edited Giovanni Andrea Angelini McGill University, Montreal, to serve as Cooperation in Education, Science, Bontempi, Historia musica: Prima e se- a postdoctoral fellow in musicology and and Research (OeAD). The grant conda parte della teorica (Bologna: Ut music theory thanks to a scholarship of supports four months of research in Orpheus, 2010); and with Alessandra the federal government of Canada for the Salzburg, January–April 2012. She Iovino, Lonati, Lulier e Bani: Cantate per year 2011–12. Dr. Guido will carry on his will study the liturgical and musical soprano e basso continuo—Gli “unica” del studies on methods of teaching counter- practices in the Salzburg Cathedral in manoscritto seicentesco dell’Università degli point and improvisation at the keyboard the seventeenth century, particularly Studi di Perugia (Bologna: Ut Orpheus, in the early Seicento, working under the during the employ of Heinrich Biber. 2009). supervision of Peter Schubert. For her dissertation, she hopes to study the various sacred and secular Raymond Erickson directed a sum- Bruce Gustafson reports that the initial applications of Biber’s oeuvre in light mer workshop (which included daily version of Oxford Bibliographies Online: of the developing discursive abilities instruction in French court dance) on Music (Bruce Gustafson, editor-in- of instrumental music. In short, she “Performing Bach in Baroque Style” chief) went online in June 2011. It can is studying the way composers of the for singers and players of modern in- be “previewed” without subscription period worked around and within struments at Queens College’s Aaron at www.oxfordbibliographiesonline. the boundaries of sacred and secular Copland School of Music and gave a com; more information about OBO: genres and spaces. pre-concert lecture on Handel’s Orlando Music can be found at aboutobo.com/ for the Mostly Mozart Festival at Lincoln music. The first articles to appear in- Center. He was recently elected to the clude those by SSCM members Gregory Board of Early Music America and the Barnett, Tim Carter, Bruce Gustafson, Advisory Board of the Riemenschneider Arthur Lawrence, Paul Walker, and An- In June Elisabeth Belgrano defended Bach Festival. drew Woolley. It is hoped that many oth- er members will contribute to this new her PhD at the University of Gothenburg Over the past year Don Fader has pub- at the Faculty of Fine, Applied, and electronic initiative that promises to lished the following article: “The goûts-réu- be a major research tool. Suggestions, Performing Arts, Academy of Music and nis in French Vocal Music (1695–1710) Drama. It is the first PhD within the field comments, and proposals are welcome through the Lens of the Recueil d’airs séri- at [email protected]. of Artistic Research in Performance in eux et à boire,” Revue de musicologie 96, no. Theater and Music Drama in Sweden, 2 (2010): 321–63. He has also published Susan Lewis Hammond happily re- and it has a special focus on seven- two reviews, of New Perspectives on Marc- ports that The Madrigal: A Research and teenth-century music drama. The title Antoine Charpentier, Shirley Thompson, Information Guide (Routledge Music is “‘Lasciatemi morire’ o farò ‘La finta ed., Notes 67, no. 4 (June 2011): 739–41; Bibliographies) appeared in March pazza’: Embodying Vocal Nothingness and of The Triumph of Pleasure, by Georgia 2011.

16  Vol. 21, No. 1 17th-Century Music Rebecca Harris-Warrick reports the fol- Confraternity of Our Lady” at the lowing recent publications: “Le comique conference “Musical, Cultural and sur la scène de l’Académie Royale de Religious Networks in Early Modern Musique à l’époque de Campra,” in Le Europe: In Celebration of Peter carnaval de Venise (1699) d’André Campra Philips’s 450th Anniversary” at the et Jean-François Regnard: Livret, études et University of Aberdeen. The paper will commentaires, ed. Jean Duron (Wavre, be included in conference proceedings Belgium: Mardaga, 2010); “Le prologue due out in summer 2012. [For a report de Lully à Rameau,” in Le répertoire de on this conference, see elsewhere in l’Opéra de Paris (1671–2009): Analyse et in- this Newsletter—Ed.] terprétation, ed. Solveig Serre and Michel Noiray (Paris: École Nationale des Katherine McGinnis announces Chartes, 2011), 199–212; “Naturalizing the publication of her article “‘Face Novelty: Italian Opera as Parisian Time–Mask Time’: The Merging and Audiences Saw It in 1729,” in “Virtute et Diverging of Public and Private Space Frans van Mieris (I), The Music Lesson arte” del danzare: Contributi di storia del- in Sixteenth-Century Dance Practices,” eighteenth-century French royal wed- la danza in onore di Barbara Sparti, ed. in “Virtute et arte” del danzare: Contributi dings), which he first prepared in 1992, Alessandro Piero Pontremoli (Lanuvio, di storia della danza in onore di Barbara has also been revised for performance Italy: Aracne, 2011). She also presented Sparti, ed. Alessandro Piero Pontremoli in France and Spain in 2012. Lionel’s the following papers: “Can Gesture be (Lanuvio, Italy: Aracne, 2011). critical edition of Lully and Quinault’s Heard?” at the conference “Gesture on Lyle Nordstrom gladly communicates Isis is due to appear later in 2011, while the French Stage, 1675–1800,” Utrecht, that Armonia Celeste was named a fi- his latest article, “The grands motets of August 2010; and “Le bal masqué selon nalist in the 2011 Naxos Recording Campra and Lalande: Two Different Campra,” at the Colloque international Competition in collaboration with Early Paths to Fame,” will appear in the André Campra (1660–1744), Aix-en- Music America. Their program is en- Actes du Colloque Campra (Versailles: Provence and Versailles, October 2010. titled “Udite Amante—Beware Lovers: CMBV, in press). During the current Richard Kolb reports a performance Music from the Barberini Courts.” They year, Lionel’s edition of Lalande’s Te with Nell Snaidas of a recital on August will also be touring in the coming year Deum has been performed widely in the 12 in the Catskills (Carver’s Barn Arts with this program. Armonia Celeste was United States, France, Switzerland, and Center, Tannersville, NY) of music by also featured on the DVD Culture Wars Germany, notably at the Handel festival Tenaglia and Caproli, composers about in Italy and the Birth of Public Opera be- at Göttingen. whom he spoke at the conference of the ing issued by Early Music Television this Lex Silbiger completed his project Society last year. fall. Members of the ensemble include: Rebecca Beasley and Sarah Griffiths, to create the Frescobaldi Thematic Jeffrey Kurtzman is pleased to an- sopranos; Dianna Grabowski, mezzo-so- Catalogue Online (FTCO), funded nounce the publication of Alessandro prano; Paula Fagerberg, baroque triple by an Emeritus Fellowship from the Grandi: Opera Omnia, vol. 1, Il primo libro harp; Lyle Nordstrom, theorbo, lutes, Andrew W. Mellon Foundation. Access de motetti (1610), ed. Steven Saunders and baroque guitar. is free at frescobaldi.music.duke.edu, and Denis Collins, general editor Jeffrey with no login required. The annotated Kurtzman (Münster: American Institute Brian Oberlander was awarded the catalogue contains nearly nine hun- of Musicology, 2011). He also reports he Newberry Library/École Nationale des dred composition records as well as a spent most of May at Aarhus University Chartes Exchange Fellowship for three comprehensive database of sources, in Denmark, teaching in the Aesthetics months in Paris during fall 2011. editions, and literature. Other publi- cations include a review of the fourth Institute and giving two public lectures: Steven Plank and his Oberlin colleague, volume of the Bärenreiter edition of “Truth, Education and the Crisis of the Charles Edward McGuire, have recent- Froberger’s keyboard works in the Early Humanities” and “On the Meaning of ly published the Historical Dictionary of Keyboard Journal 25–26 (2010): 247–53 the Meaning of Music.” Part of the first English Music ca. 1400–1958 (Lanham, (volumes 1–3 were reviewed in ear- lecture was published in Weekendavisen, a MD: Scarecrow, 2011). Copenhagen newspaper. In June he gave lier issues of EKJ), and “The Promises a keynote address entitled “The Effect on Lionel Sawkins reports that two of and Pitfalls of Online Scholarly Music Italian Liturgical Music of the Council his editions of celebrated French ba- Publishing,” in Authority, Historiography, of Trent (1562), the Breviarium roma- roque stage works are to be performed Technology: New Perspectives in Early Music num (1568), the Missale romanum (1570), in 2012. His newly revised edition of Editing, eds. Theodor Dumitrescu and the Caeremoniale episcoporum (1600)” Rameau’s La princesse de Navarre is to be and Karl Kügle (Turnhout, Belgium: at the congress “Música i reforma litúr- directed by Gonzalo Martinez in France Brepols, forthcoming in 2011). Lex also gica des de 1611 fins al present: Congrés and Switzerland to coincide with the presented a paper related to the FTCO commemoratiu del quart centenari de la 300th anniversary of the birth of J.- project, “Four Centuries of Frescobaldi mort de Sant Joan de Ribera” (Valencia, J. Rousseau, who adapted Rameau’s Reception: Preliminary Results from a Spain). [For a report on this conference, work as Les fêtes de Ramire. (An earlier New Online Thematic Catalogue and see elsewhere in this Newsletter—Ed.] version of La princesse was staged at the Bibliographic Database,” at a meeting Royal Opera House, Covent Garden of the Southeastern Historical Keyboard In March 2011 Anne Lyman presented and elsewhere in 1977.) Lionel’s edi- Society in Macon, GA (May 2011), and a paper entitled “The Pious Mr. Philips tion of Pancrace Royer’s Zaïde, reine de at the First International Conference and His Few-Voiced Motets at Isabella’s Grenade (the most-performed opera at continued on next page

Vol. 21, No. 1 17th-Century Music  17 Artes musicae periti Jeffrey Kurtzman: An Appreciation continued from page 17 continued from page 1

on Historical Keyboard Music in to the honoree for his efforts on our addition to analytic, liturgical, and Edinburgh, Scotland (July 2011). [For behalf some two decades ago, for he performance studies, he has pro- a report on this last conference, see is a principal founding father of the duced numerous critical editions, in- elsewhere in this Newsletter—Ed.] Society and its inaugural president. cluding those of additional large-scale Jeffrey Kurtzman holds an un- sacred works by Monteverdi as well as Kerala Snyder recently received an dergraduate degree in piano per- ten volumes for Garland of Vespers honorary PhD from the University formance from the University of and Compline music by a variety of of Gothenburg in Sweden, acknowl- Colorado, and the MA and PhD seventeenth-century composers, and edging her work with the Göteborg in musicology from the University he is general editor of the complete Organ Art Center (GOArt) begin- of Illinois. His principal profes- works of Alessandro Grandi, of which ning in 1996. Among her projects sorial appointments have been at the first volume has now appeared. there was the editing of The Organ as a Rice University and at Washington For many years he has managed an Mirror of Its Time, published by Oxford University in St. Louis, where he has enormous on-line database, housed University Press in 2002. been on the faculty for the past quar- at the Fondazione Cini, of Italian In May, at the Salone Borromini ter century. He has taught a dizzying printed sources for the Office. in Rome, Barbara Sparti was pre- array of courses on a wide variety of Distinguished as Kurtzman’s sented with a book of essays in her musical and interdisciplinary topics, teaching and research career has honor: “Virtute et arte” del danzare: and has served as mentor to countless been, his contributions in the area Contributi di storia della danza in onore young scholars in our field. Though of service have been equally remark- di Barbara Sparti, ed. Alessandro Piero he claims no longer to be able to able, including positions in academic Pontremoli (Lanuvio, Italy: Aracne, work “more than twenty hours a day,” administration and on fellowship 2011). SSCM members who con- the indefatigable Jeff admits to no re- selection panels, institutional review tributed chapters include Katherine tirement plans. While it is customary panels, and boards of directors cut- Tucker McGinnis, Wendy Heller, and to wait for retirement to bestow hon- ting across repertories, disciplines, Rebecca Harris-Warrick. The book Im- orary membership, we thought we’d and national borders. He has chaired aging Dance: Visual Representations of better just do it! several important committees for Dancers and Dancing, edited by Barbara Kurtzman is among the deans of the American Musicological Society; Sparti and Judy Van Zile (with Elsie Seicento studies. His approaches to and as chairman of the American Ivancich Dunin, Nancy G. Heller, and Italian sacred and secular reperto- Heinrich Schütz Society in the early Adrienne L. Kaeppler) was published ries have been diverse, ranging from 1990s, he presided over transforming by Olms in May. It was presented at detailed studies of sources and per- that organization into the Society for the American Academy in Rome. On formance practices to psychological Seventeenth-Century Music, which June 20 the balletto “Martel d’amore” and semiotic interpretations, the lat- he then led. For years he has been a was performed in Ferrara for the first ter inspired by the work of Jung and major player on the editorial boards time since the duchess of Ferrara, Foucault. Over the course of four and editorial staffs of both JSCM and Margherita Gonzaga, danced it with decades he has produced a ceaseless the Web Library. seven of her ladies, dressed as nymphs flow of lectures, articles, guest edi- Yet in thinking about Jeff’s and shepherds, in 1580. The choreog- torships, editions, and monographs, importance to SSCM, I find that I raphy, by Leone Tolosa ebreo, was un- and his research has been supported am unable to separate his role as a earthed in Modena by Kathryn Bosi by the most prestigious fellowships leader from his roles as scholar and (I Tatti) and published in Recercare 17 and grants. teacher. He has been a vivid pres- (2005). Barbara Sparti was responsi- He has long been recognized as ence at nearly every conference, ble for the reconstruction of the beau- one of the world’s greatest authori- always ready in discussion periods tiful and complex choreography. ties on Catholic sacred music in sev- to provide enthusiastic support or enteenth-century Italy and associated gently worded criticism, in business Andrew H. Weaver has been promot- liturgical practices. At the center of meetings to lend passionate support ed to associate professor and granted his scholarship lies one of the most to good causes and public recognition tenure at the Catholic University of famous and problematic pieces in of colleagues and students, and in America. the seventeenth-century repertory: informal discussion to impart sage Monteverdi’s Vespers of 1610. His advice and kind words to everyone. In October Andrew Wooley is start- work on this topic, which began with As one appreciative young Italianist ing a Leverhulme Trust Early Career his doctoral dissertation, culminated wrote in support of this award, “If Research Fellowship in the Depart- in a major monograph, The Monteverdi SSCM were a seventeenth-century ment of Music at the University of Vespers of 1610: Music, Context, Italian academy, Kurtzman would Edinburgh. He will look principally Performance, as well as a critical edition, be its principe, the authority setting at archival materials relating to music- both published by Oxford University the example for all the members, making in Edinburgh in the period ca. Press in 1999. Over the course of his protecting and nurturing the 1660–1780. career, his research on the Vespers institution.” Congratulations, Jeff— fanned out into mastery of several and thank you! centuries of Italian sacred music. In

18  Vol. 21, No. 1 17th-Century Music Il novello Giasone at Martina Franca by Valeria De Lucca

t will come as no surprise to SSCM degli Intronati in Siena) in the se- to be presented to a modern audience. members that another opera by ries Drammaturgia Musicale Veneta. Unfortunately, the cuts for this produc- IFrancesco Cavalli has recently hit the Indeed, the score and libretto of Il no- tion—enacted without consulting the stage. However, the fact that the opera vello Giasone were the chief protagonists editors of the project—substantially in question was Il novello Giasone —the of this production. Those familiar with weakened the dramatic impact. For ex- 1671 adaptation by Giovanni Filippo Giasone could appreciate the original ample, the two confrontation scenes be- Apolloni and Alessandro Stradella of masterpiece while recognizing the in- tween Giasone, Medea, and Isifile (2.13 the 1649 Giasone by Giacinto Andrea and 3.3) were so reduced as to make the Cicognini and Cavalli—made this re- resolution of their love triangle appear cent production a thoroughly extraor- unjustified and random. Inattention dinary event. The opera was staged on to the libretto also caused some goofs, July 29, 2011, in Martina Franca, Italy, as when Demo sang “I want to break where the innovative Festival della Valle this violin on his head” while holding d’Itria has taken place every summer a stone, or Egeo confessed to assaulting since 1975. Giasone with his dagger while clutching Cavalli and Cicognini’s Giasone was a rope. one of the most popular operas of the Those who expected some comic seventeenth century, so not surpris- relief from Delfa (Paolo Lopez) and ingly, it was one of the two works cho- Demo (Krystian Adam) were also disap- sen to inaugurate the first commercial pointed, mostly because a number of theater of Rome, the Teatro Tordinona, comic scenes were cut. Delfa was able in 1671. Stradella and Apolloni took to get a few laughs from her cross-dress- charge of the adaptation, aiming to ing and unexpected changes of range. infuse new life into the twenty-two-year- But SSCM members who attended the old work, now aptly re-titled Il novello Giasone at Yale University in 2009 would Giasone. Their most spectacular revision have particularly missed the humor involves the prologue: the music begins of the stuttering Demo, here reduced as in the 1649 version, but—in a coup de to a neurotic, whining, and tedious théâtre probably devised by their collab- shadow of the original. Lights and sets orator Filippo Acciaioli—the scene is did little to convey atmosphere, which suddenly interrupted by the collapse of was particularly missed when Medea the carriage of the Sun and indeed the invoked the otherworldly spirits. The whole stage, all immediately replaced costumes by Vanessa Sannino made the by a new set, new music, and new char- Argonauts look like characters from acters (Music, Poetry, Painting, and Avatar, and the use of extravagant but Architecture). meaningless headgear was a missed op- Aside from this new prologue and a portunity to revive an essential aspect of few additional pieces by Stradella, little baroque costume. The singers did well was known about the text of Il novello overall, particularly the three protago- Giasone until very recently. Nicola Usula terventions. In addition to the new pro- nists Giasone (Borja Quiza), Medea and Marco Beghelli, under the super- logue, Apolloni and Stradella provided (Aurora Tirotta), and Isifile (Roberta vision of Lorenzo Bianconi, produced fifteen new arias, adapted the ensemble Mameli), and the orchestra conducted the critical edition (still unpublished) pieces to the Roman cast, and added two by Antonio Greco, if at times overbear- used in this modern premiere and will new comic scenes and an intermezzo. ing, was generally proficient. soon publish a facsimile of the score (lo- It is to be expected that an opera of (The author would like to express cated in the Biblioteca dell’Accademia this length should undergo some cuts her gratitude to Nicola Usula.)

Conference Report: Historical Keyboard Music: Sources, Context and Performance continued from page 11 century English keyboard sources. A round-table discussion on keyboard studies as a field in its own right concluded a most satisfying conference. The variety of superb restaurants in Edinburgh provided rare treats for all and relaxed venues to continue discussions. With an excellent concert series at St. Giles’s Cathedral (complementing the scheduled conference recitals), an underground tour of old Edinburgh with its vaults and ghost stories, a visit from the queen, and splendid weather the entire week, the overall conference experience was captivating. An anthology of papers is forthcoming.

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