16Th International Conference on Baroque Music – Preliminary Schedule

16th International Conference on Baroque Music – Preliminary Schedule ROOMS yellow: Bösendorfersaal red: Hörsaal green: Kleines Studio grey: Lecture Room 1 (2047) blue: Lecture Room 2 (2048) dark blue: Lecture Room 3 (1010) brown: Solitär THEMATIC LINES violet: Cultural Transfer across the Alps / Austria blue: Italy orange: Great Britain rose: Johann Sebastian Bach grew: Germany green: France black: others Wednesday, 09-07 14.00 Opening of Registration Foyer 18.30 Welcome Speeches Solitär 19.30 Concert / Lecturers of the Institute for Early Music Solitär Thursday, 10-07 9.00 Ð FOCUS ON BACH’S VIEWPOINTS ON MUSIC IN FRENCH HARPSICHORD SEICENTO SACRED OPERA CROSSING THE CHRISTOPH GRAUPNER 10.30 WELL-TEMPERED 17 th AND 18 th CENTURY MUSIC MUSIC ALPS (I) AND THE CANTATA AT CLAVIER ENGLAND CHAIR: Cathérine Deutsch CHAIR: David Ledbetter CHAIR: Kordula Knaus THE COURT OF HESSE- CHAIR: Michael Marissen CHAIR: Peter Holman DARMSTADT (I) CHAIR: Christoph Großpietsch Yo Tomita Katherine Butler David Chung Sarah M. Iacono Annamaria Cecconi Erdmann REVISITING CHANGING ATTITUDES TO RETHINKING “CONCERTATI ALLA MEDEA CROSSES THE SACRED DIALOGUE ALTNICKOL’S 1744 CLASSICAL MYTHOLOGY CREATIVITY IN THE MODERNA”: NEW ALPES: PERFORMANCE CANTATAS BY COPY OF THE WELL- AND THE POWERS OF 17th CENTURY MOTETS BY GIULIO AND PERFORMATIVITY CHRISTOPH GRAUPNER TEMPERED CLAVIER, MUSIC IN 17TH-CENTURY THROUGH A STUDY OF SAN PIETRO DEL IN P.P. BISSARI’S (1683‒1760) BOOK II ENGLAND CONCORDANT FRENCH NEGRO BETWEEN MEDEA VENDICATIVA HARPSICHORD MUSIC PAVIA CATHEDRAL (MUNICH, 1662) AND PATRICIAN CIRCLES Tanja Kovačević Bronwyn Ellis Ruta Bloomfield Michael Dodds Michael Lee Pegah BACH AS AN “WRESTETH AND THE FRENCH ORGAN FROM VENICE TO IN SEARCH OF AFTERTHOUGHT OR TURNETH”: CREATING CONNECTION: TRANSPOSITIONS IN DRESDEN AND SETTINGS AND ‘SAVE THE BEST FOR AND RECREATING MUSIC INFLUENCE OF ITALIAN SACRED BEYOND: THE OCCASIONS ‒ SECULAR LAST’? ON THE IN EARLY STUART AND FRANÇOIS COUPERIN VOCAL POLYPHONY c. TRANSLATIONS OF CANTATAS AT THE RECEPTION OF THE INTERREGNUM ENGLAND ON THE MUSIC OF 1600 ALARICO, RÈ DE GOTI LANDGRAVIATE WELL-TEMPERED BERNARD DE BURY AND LA COURT OF CLAVIER IN BOHEMIA GIERUSALEMME HESSE-DARMSTADT LIBERATA, AND THE DYNAMICS OF CULTURAL TRANSFER Russell Stinson Suzanne Aspden Lysiane Boulva Jeffrey Kurtzman Rebekah Ahrendt Beate Sorg LECTURE RECITAL RICHARD WAGNER BURNEY’S ‘BOORS’: MONTEVERDI AND “THE MOST BEAUTIFUL GRAUPNER AND THE AND THE WELL- DISCOVERING ‘REAL JACQUES DUPHLY AND SACRED MUSIC AT ITALIAN ARIAS” USE OF MUSICAL TEMPERED CLAVIER: A NATIONAL MUSIC’ IN THE UNION OF TASTES MANTUA: WHAT THE (AMSTERDAM, 1691 BORROWINGS CLOSER LOOK 18TH-CENTURY EUROPE EVIDENCE TELLS (AND DOESN’T TELL) US ‒ A RESPONSE TO ROGER BOWERS 11.00 PATRONAGE AND MUSIC IN 17 th CENTURY THEOLOGICAL IDEAS CONTINUO, CELLO AND SACRED MUSIC IN CHRISTOPH GRAUPNER Ð INSTITUTIONS IN 17 th AUSTRIA INFLUENCING BACH BASSE DE VIOLE ENGLAND AND THE CANTATA AT 12.30 AND 18 th CENTURY CHAIR: Elisabeth Fritz- CHAIR: Szymon PLAYING IN FRANCE CHAIR: Bruce Wood THE COURT OF HESSE- ITALY Hilscher Paczkowski CHAIR: Robert Rawson DARMSTADT (II) / CHAIR: Christoph Riedo GERMAN MUSIC THEORY CHAIR: Christoph Großpietsch Donald Burrows Katharina Aberer Ruth Tatlow Thérèse de Goede Andrew Cheetham Ursula Kramer FOLLOWING HANDEL THE GRAZ COURT CHAPEL METAPHOR OR NO TITLE! CONFLICT AND PERFORMANCE- ACROSS THE ALPS, ON ITS WAY INTO THE REALITY: HARMONY, CONTRADICTION IN PRACTICE AT THE BETWEEN GERMANY BAROQUE ERA PROPORTIONS AND PORTER’S MOTTETS COURT OF HESSE- AND ITALY (AND COMPOSITIONS IN DARMSTADT EVENTUALLY TO HEAVEN LONDON) Christine Getz Marko Deisinger Michael Marissen Francis Yapp James Hume Florian Heyerick MEDITATING AT THE THE HOFKAPELLE OF J.S. BACH’S CHURCH NO TITLE! THE USE OF THE CHORALE SACRED FONT IN 17th- EMPRESS ELEONORA II: CANTATAS AND ‘THE RESTORATION SETTINGS OF CENTURY MILAN SOURCE-RELATED JEWS’ IN THE GOSPEL SYMPHONY ANTHEMS CHRISTOPH DIFFICULTIES IN OF JOHN AT THE EARLY 18th GRAUPNER: TYPOLOGY RESEARCHING THE CENTURY CHAPEL AND PERFORMANCE HISTORY OF AN ITALIAN- ROYAL PRACTICE DOMINATED INSTITUTION IN VIENNA Ilaria Grippaudo Petr Slouka Uri Golomb Pia Pircher Robert Shay / Roderick Julia Rose Dokter Sharpe WOMEN AND MUSIC AT THE SECULAR DRAMATIC THE ‘PASSION’ LA BASSE DE VIOLE CODIFIED TEMPO THE RELIGIOUS MUSIC OF JOHANN ANIMATED, APRÈS LA MORT DE A NEW SOURCE OF CHANGES IN 17th INSTITUTIONS OF HEINRICH SCHMELZER: A RITUALISED AND MARAIS 1728 RESTORATION CENTURY GERMANY: PALERMO (17th/18th CONTRIBUTION TO THE MONUMENTALISED: CATHEDRAL MUSIC IN MICHAEL PRAETORIUS CENTURIES): A HISTORY OF FESTIVE EXPRESSIVE ILLINOIS: PREVIOUSLY AND MATTHIAS PRELIMINARY SERENATAS IN THE 17th ENGAGEMENT AND UNKNOWN WORKS BY WECKMANN’S ORGAN OVERVIEW CENTURY EMOTIONAL DISTANCE WILLIAM TURNER MUSIC IN PRODUCTION OF BACH’S MATTHÄUS- PASSION 14.00 STRING PLAYING IN 17 th HENRY PURCELL BACH’S THOMANER ‒ MARC-ANTOINE TRACES OF ITALIAN GENDER AND Ð CENTURY ITALY CHAIR: Rebecca Herissone RESULTS OF A CHARPENTIER OPERA IN 17 th CENTURY PEDAGOGICS 15.30 CHAIR: Claudio RESEARCH PROJECT CHAIR: Thierry Favier AUSTRIA CHAIR: Sheila Kreyszig Bacciagaluppi CHAIR: Samantha Owens CHAIR: Lars E. Laubhold Greta Haenen Bruce Wood Bernd Koska Cathérine Cessac Nicola Usula Sigrid Harris BOWING, SLURRING PURCELL’S REVISIONS BACH’S STUDENTS AT AIRS ITALIENS À 3 THE CRUMBS OF THE “WOMEN ARE AS AND EXPRESSION IN ST THOMAS SCHOOL VOIX: A RECENTLY EMPEROR: ARIA ROSES”: FLORAL 17th-CENTURY STRING AS CHURCH AUTHENTICATED COLLECTIONS FROM SYMBOLISM IN PLAYING MUSICIANS CHARPENTIER ITALY IN THE GESUALDO AND AUTOGRAPH SCHLAFKAMMER- MONTEVERDI BIBLIOTHEK OF LEOPOLD I Eva Kuhn Alan Howard Michael Maul Graham Sadler Dominique Lauvernier Gioia Filocamo OBSERVATIONS ON A A NEW PURCELL BACH’S OR ERNESTI’S THE MAGA AND THE VIRTUAL RESTITUTION WOMEN, FOOD AND “CELLO” TABLATURE ‘BORROWING’ FROM SONS? ‒ NEW SOURCES SHEPHERDS: MARC- OF THE BAROQUE MUSIC IN THE 17th IN A BONONCINI ORLANDO GIBBONS ON BACH’S PREFECTS ANTOINE OPERAS PERFORMED AT CENTURY MANUSCRIPT CHARPENTIER’S THEATER AUF DER APPROPRIATION OF A CORTINA, VIENNA POETIC CONVENTION 1668ss FROM ITALIAN OPERA IN HIS DRAMATIC MOTETS Guido Olivieri Alon Schab Manuel Bärwald Shirley Thompson Adriana De Feo Evaghelia Kopsalidou A NEW SOURCE FOR PURCELL AND THE FROM BACH TO HOW THE EARTH NO TITLE! WAYS OF TEACHING THE HISTORY OF THE MODALITY OF THE MINOR GALUPPI ‒ MUSICAL MOVED FOR BAROQUE MUSIC IN EARLY VIOLONCELLO KEY TRANSFER ACROSS CHARPENTIER: A PRIMARY SCHOOL AND IN 17th-CENTURY THE ALPS AND ITS MISUNDERSTOOD UNIVERSITY NAPLES INFLUENCE ON LEIPZIG NOTATION IN CONCERT LIFE BAROQUE FRANCE 16.00 BASSOONS, KEYBOARD ARCANGELO CORELLI OPERA AND CANTATA ASPECTS OF BACH ANALYSES MUSIC IN SPAIN AND N Ð TEACHING AND CHAIR: Michael Robertson IN EARLY 18 th ANTIQUITY AND CHAIR: John Lutterman THE NEW WORLD 18.00 KEYBOARDS CENTURY ENGLAND MODERNISM CHAIR: Antonio Ezquerro CHAIR : Ulrich Leisinger CHAIR: Bryan White CHAIR: Jen-yen Chen Esteban Klaus Hubmann Alberto Sanna Alison DeSimone David R. M. Irving Konstantinos Alevizos Louise K. Stein BASSOONS IN GERMAN- ARCANGELO CORELLI “ALL’S MADE UP MODERN EUROPEAN HIDDEN FORMS OF CELOS A UN DEL AIRE SPEAKING COUNTRIES ACCORDING TO ABED”: THE COMIC MUSIC AND THE INVERSION (MIRROR) MATAN: MUSIC, FROM C. 1685 TO C. 1735 GIUSEPPE OTTAVIO COLLABORATIONS OF ANTIQUITY OF THE INSIDE THE RECEPTION, AND PITONI: THEORY AND RICHARD LEVERIDGE WORLD: BAROQUE CONTRAPUNCTUS “IN HISTORICAL PRACTICE OF THE AND MARY LINDSEY IN PERSPECTIVES ON STYLO FRANCESE” OF RELATIONS IN THREE ROMAN ‘MINUTE’ LONDON PASTICCIOS ANCIENTS AND THE ART OF FUGUE OF LOCI OF PRODUCTION STYLES (1705‒1710) OTHERS JOHANN SEBASTIAN BACH (BWV 1080, 6) Jarmila Paclová Carolyn Gianturco Bill Mann Bella Brover-Lubovsky Michael Baker Ana Lombardía HISTORICAL WAS CORELLI , THE ERGASTO PUZZLE REPRESENTATION OF A DORIAN EARLY SOURCES FOR CLAVICHORDS IN CZECH HANDEL OR THE GREEK MONODY MIDDLEGROUND THE STUDY OF VIOLIN COLLECTIONS STRADELLA THE IN 18TH-CENTURY SCHEMA IN BACH’S MUSIC IN MADRID: THE INVENTOR AND ITALIAN MUSIC MINOR-KEY FUGUE GUSARAÑAS EARLIEST MASTER OF EXPOSITIONS MANUSCRIPT (c. 1690) THE CONCERTO- GROSSO ENSEMBLE? Joyce Lindorff Gregory Barnett Erica Levenson Théodora Psychoyou Zachary Carter Alejandro Vera POGLIETTI’S MUSICAL ARCANGELO CORELLI FRENCH TURN’D ANCIENTS AND J.S. BACH’S ‘VIOLONE’ THE CIRCULATION OF LEGACY: THE IN 18TH-CENTURY ENGLISH: THE ENGLISH MODERNS, ITALIANS AND THE BAROQUE GUITAR COMPENDIUM OF 1676 AMERICAN MUSICAL MUSICAL ADAPTATION AND FRENCH: STATUS FUNDAMENTAL MUSIC BETWEEN SPAIN CULTURE OF FUZELIER’S MOMUS AND TEXTURE, THE AND THE NEW WORLD: FABULISTE FOR THE TRANSFORMATIONS CONTRABASS-BOWED NEW CONTRIBUTIONS LONDON STAGE OF ANCIENT GREEK INSTRUMENT IN THE FROM SOURCES MODELS IN 17TH- BACH CANTATA PRESERVED IN CENTURY WRITINGS MADRID, MEXICO AND ON MUSIC LIMA Christoph Prendl Peter Walls Marie-Claire Gervasoni Michael Malkiewicz John Swadley „WIE MAN SOLL DIE ORNAMENTED NICOLA PORPORA’S “TO THE CORTEOUS “PLAINCHANT SO THAT FINGER RICHTEN ZU VERSIONS OF CANTATE, OP. 1 AND READER”: FOREWORDS AN EIGHT YEAR OLD LEHRNEN SCHLAGEN“: CORELLI’S OPUS 5 THE ITALIAN- OF MUSIC PRINTS AS A GIRL COULD ALESSANDRO POGLIETTI LANGUAGE KEY FOR UNDERSTAND IT”: THE AND THE TEACHING OF CANTATA’S ‘FINAL HISTORICALLY PEPUSCH STUDENT KEYBOARD TECHNIQUE IN FLOWERING’ INFORMED RICARDO DE LA MAIN THE LATE 17TH CENTURY PERFORMANCE IN MEXICO CITY, 1747 PRACTICE 20.00 Concert / Collegium vocale Mülln Parish Church Friday, 11-07 9.00 Ð GEORGE FRIDERIC ASPECTS OF MUSIC IN NEW LIGHT

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