Society for Seventeenth-Century Music
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The Nineteenth Annual Conference of the Society for Seventeenth-Century Music School of Music, Ferguson Hall University of Minnesota, Minneapolis, Minnesota April 7–10, 2011 CONFERENCE SCHEDULE THURSDAY, APRIL 7 12:00–5:00 p.m. Registration lobby, Holiday Inn hotel 1:15–2:30 p.m. Meeting of the JSCM Editorial Board Ferguson Hall, room 280 2:45–4:45 p.m. Meeting of the SSCM Governing Board Ferguson Hall, room 280 5:45 p.m. Busses leave the Holiday Inn for the evening’s events in Saint Paul 6:30 p.m. Hors d’oeuvre reception with cash bar Schubert Club Museum, 302 Landmark Center 75 W 5th Street, Saint Paul, MN 8:00 p.m. Concert—Mahan Esfahani, harpsichord Courtroom 317, Landmark Center 75 W 5th Street, Saint Paul, MN 1 FRIDAY, APRIL 8 7:30–8:50 a.m. Meeting of the WLSCM Editorial Board 2:00–5:00 p.m. PAPER SESSION II Ferguson Hall, room 205 Ferguson Hall, room 225 8:00–9:00 a.m. Registration SHORT SESSION A: SACRED MUSIC IN THE Ferguson Hall, room 280 COLONIAL NEW WORLD 8:30–9:00 a.m. Pastries and Coffee Craig Russell (California Polytechnic State Ferguson Hall, room 280 University), chair 9:00–12:00 noon PAPER SESSION I Drew Edward Davies (Northwestern University) Ferguson Hall, Lloyd Ultan Recital Hall Music for the Virgin of Guadalupe in Late Seventeenth- Century Mexico City SUCCESS AND FAILURE IN PATRONAGE Margaret Murata (University of California, Irvine), chair Tim Watkins (Texas Christian University) A New Source for Colonial Guatemalan Music: Princeton Bryan White (University of Leeds, UK) Garret-Gates MS. 258 Restoration Opera and the Failure of Patronage Anne-Madeleine Goulet (École française de Rome, Italy) Break (3:20–3:40 p.m. in ferguson hall, room 280) Music in Private Life in Late Seventeenth-Century Rome: The Case of the Princesse des Ursins and Her Social Circle SHORT SESSION B: COMPARING ITALIANS Jennifer Williams Brown (Grinnell College), chair Break (10:20–10:40 a.m. in ferguson hall, room 280) Francesco Dalla Vecchia (University of Iowa) Valeria De Lucca (University of Southampton, UK) “Rispondendo per le rime”: Monteverdi’s and Cavalli’s Roman Patrons and the Dissemination of Venetian Opera Shared Strophic Arias Louise K. Stein (University of Michigan) Richard Kolb (New York City) Alessandro Scarlatti, the Marchese del Carpio, and Singers Displacement of Seconda Pratica Ideals in the Music of in Naples Antonio Francesco Tenaglia and Carlo Caproli 12:00–1:00 p.m. Lunch Ferguson Hall, room 280 7:15 p.m. Busses depart from the Holiday Inn for the concert 1:00–2:00 p.m. Concert—¡Sacabuche! (Linda Pearse, Artistic Director) and 8:00 p.m. Concert—Rose Ensemble: Slavic Wonders Ann Waltner: Matteo Ricci—His Map and Music Norwegian Lutheran Memorial Church Mindekirken Ferguson Hall, Lloyd Ultan Recital Hall 924 E 21st Street, Minneapolis 2 3 SATURDAY, APRIL 9 8:30–9:00 a.m. Pastries and Coffee 2:00–5:00 p.m. PAPER SESSION IV Ferguson Hall, room 280 Ferguson Hall, room 225 9:00–12:00 noon PAPER SESSION III SHORT SESSION A: SOURCES AND THEIR EVIDENCE Ferguson Hall, room 225 Paul Schleuse (Binghamton University of the State University of New York), chair OPERA ACROSS EUROPE Rebecca Harris-Warrick (Cornell University), chair Matt Henson (Florida State University) Cruda Amarilli: Angelo Notari’s Adaptations of Emily Wilbourne (Queens College, City University of Monteverdi’s Madrigal New York) Penelope, Poppea, and the Stock Characters of the Alexander Dean (Eastman School of Music) Commedia dell’arte Strumming in the Void: A New Look at Dance Rhythms in Italian Canzonettas Maria Virginia Acuña (University of Toronto) Golden Age and Decline: Revisiting Spanish Baroque Break (3:20–3:40 p.m. in ferguson hall, room 280) Theatrical Music SHORT SESSION B: SINGERS AND THEIR PROFESSIONS Break (10:20–10:40 a.m. in ferguson hall, room 280) Beth Glixon (University of Kentucky), chair Markus Rathey (Yale University) Esther Criscuola de Laix (Oakland, CA) Before the Opera: Musical Drama and Dramatic Music in “Die Bergleut singen, die Häuerlein fröhlich klingen”: Melchior Leipzig Preceding the Establishment of the Opera in 1693 Franck’s Singing Miners Aliyah M. Shanti (Princeton University) Colleen Reardon (University of California, Irvine) When Pastoral Becomes Tragedy: Broken Genres in the Camilla in Siena and Senesino’s Début Fourth Act of Roland 7:00–8:00 p.m. Cocktails 12:00–2:00 p.m. Lunch and Formal Business Meeting Carlson Private Dining Room, Carlson School of Management, Lobby, Ted Mann Concert Hall University of Minnesota 8:00–10:00 p.m. Banquet Carlson Private Dining Room, Carlson School of Management, University of Minnesota 4 5 SUNDAY, APRIL 10 ABSTRACTS 8:30–9:00 a.m. Pastries and Coffee Ferguson Hall, room 280 SUCCESS AND FAILURE IN PATRONAGE 9:00–12:00 noon PAPER SESSION V Chair: Margaret Murata, University of California, Irvine Ferguson Hall, room 225 Friday, April 8 • 9:00–12:00 noon SHORT SESSION A: MUSICAL AND POETIC DEVICES IN Bryan White, University of Leeds, UK EARLY OPERA Restoration Opera and the Failure of Patronage Massimo Ossi (Indiana University), chair The failure of through-sung opera to find a firm foothold in England in the Restoration period Edward M. Anderson (Rice University) has been explained on a variety of grounds. In the 1690s Peter Motteux wrote in The Gentleman’s Staging the Poet: Ariosto in Early-Seicento Musical Drama Journal that “experience hath taught us that our English genius will not rellish that perpetual sing- ing.” Other explanations have blamed financial constraints facing London’s theatre companies, or Barbara Russano Hanning (City College, City University have offered the development of native dramatic opera as a successful and coherent form of music of New York) drama that rendered through-sung English opera unnecessary, if not undesirable. While these argu- Powerless Spirit: Echo on the Musical Stage of the Late ments have their merits, they seem insufficient to explain why Thomas Betterton and the United Renaissance Company chose to commit a rumored £4000 to the production of the through-sung opera Albion and Albanius in 1685. Did Betterton expect to make back through one extravagant production an Break (10:20–10:40 a.m. in ferguson hall, room 280) investment that represented almost half of the expenditure required to fund a full year’s program of performances by the Company – or was this decision motivated by expectations of a significant SHORT SESSION B: OPERA AS MESSAGE subvention from Charles II? This paper argues that royal patronage, or the lack of it, has not been Graham Sadler (University of Hull, UK), chair sufficiently considered as a barrier to the development of opera in England. Financial exigencies notwithstanding, Charles II displayed an ambivalent attitude to through-sung opera (English or Hendrik Schulze (University of North Texas) otherwise) throughout his reign. While he seems to have occasionally encouraged the form in “Farò veder che tutte non son le donne imbelle”: Monarchism, word, he was in deed unwilling to provide sustained support for operatic endeavors. His reticence Love, and the Female Protagonist in Nicolò Minato’s/ to support opera through direct financial patronage was the most significant factor in the failure Francesco Cavalli’s Artemisia (Venice 1657) of the art form to find a place in English musical and theatrical culture of the Restoration period. Marcie Ray (Michigan State University) In Defense of Women and Pleasure: The Opéra-Comique Anne-Madeleine Goulet, École française de Rome, Italy Enters the Querelle des Anciens et des Moderns Music in Private Life in Late Seventeenth-Century Rome: The Case of the Princesse des Ursins and Her Social Circle Music stands as one of the major topics in the late seventeenth-century letters of Anne-Marie de La Trémoille, married to Duke Flavio Orsini and known as the Princesse des Ursins, and of her sister Louise-Angélique, wife of Antonio Lante della Rovere. Two neglected series of letters preserved 6 7 Friday morning, April 8 Friday morning, April 8 in the Fondo Orsini of the Archivio Storico Capitolino and in the Fondo Lante of the Archivio di In light of the new evidence from the Roman archives, in the second part of this paper I reconsider Stato di Roma give new insights into the place held by music, musicians, and concerts within the the question of the “patronage” of the Teatro Tordinona. Far from being the undertaking of a single social life of these two Roman families, linked to the royal court of France. The private letters of patron, the Teatro Tordinona emerges as the result of the collaborative effort of many patrons and of the Princesse des Ursins, who headed the Francophile party in Rome, and of her sister, the Princess their common interests in the repertory that came from the Serenissima. In this perspective, the role of Belmonte, give evidence about all kinds of musical activities, either for private entertainments of the Colonna family—particularly in relation to the choice of repertory—acquires a new weight. (personal practice, musical lessons, dance lessons), or for social gatherings (musical concerts and lyrical performances). Within the circle of a huge diplomatic, political and artistic network in Rome, In closing, I argue that a more attentive consideration of the ways in which repertory circulated at the two sisters maintained a conversation à la française as it had been held in Parisian salons such as this time might call for a more central position of cities hitherto considered “peripheral” such as the Hôtel de Rambouillet at the height of its fame. This paper has a double scope: first, it gathers Rome not only in the absorption of the Venetian repertory, but also in its dissemination.