16th International Conference on – 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: 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 ‒ FOCUS ON BACH’S VIEWPOINTS ON MUSIC IN FRENCH SEICENTO SACRED CROSSING THE CHRISTOPH GRAUPNER 10.30 WELL-TEMPERED 17 th AND 18 th CENTURY MUSIC MUSIC ALPS (I) AND THE AT CLAVIER ENGLAND CHAIR: Cathérine Deutsch CHAIR: David Ledbetter CHAIR: Kordula Knaus THE COURT OF HESSE- CHAIR: Michael Marissen CHAIR: Peter Holman (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 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 ‒ 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 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 BACH’S THOMANER ‒ MARC-ANTOINE TRACES OF ITALIAN GENDER AND ‒ 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 ON BACH’S PREFECTS ANTOINE 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 ‒ 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 - 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 ‒ GEORGE FRIDERIC ASPECTS OF MUSIC IN NEW LIGHT ON BACH’S CHARPENTIER, BACH SEICENTO ITALIAN SOURCE RESEARCH 10.30 HANDEL (I) BAROQUE GERMANY COPYISTS AND AND MARAIS OPERA (I) AND MUSIC IN SOCIAL CHAIR: Donald Burrows CHAIR: Michael Maul STUDENTS CHAIR: Cathérine Cessac CHAIR: Norbert Dubowy LIFE IN AUSTRIA AND CHAIR: Ruth Tatlow SWITZERLAND CHAIR: Tassilo Erhardt Fred Fehleisen Olga Gero Tatiana Shabalina Korre D. Foster Valeria De Lucca Johannes Prominczel

WHAT’S REALLY THE UNIDENTIFIED BACH’S PARODY NO TITLE! TWO OPERAS ABOUT REMARKS ON THE CROOKED AND SOURCE OF THE TEXT IN PROCESS: SILENCE AND THE COPYISTS OF THE STRAIGHT IN “EV’RY DIETRICH BUXTEHUDE’S OBSERVATIONS FROM POWER OF THE VOICE: IMPERIAL COURT IN VALLEY”? FALLAX MUNDUS THE EARLY LEIPZIG LA TESSALONICA (1683) THE FIRST HALF OF MANUSCRIPTS AND IL SILENTIO THE 18TH CENTURY D’ARPOCRATE (1686) IN ROME Paul McMahon Barbara Reul Susan McCormick Adrian Powney Candida Felici Lars E. Laubhold

THE PREMIERE OF “NEVER BELIEVE THE MULTIPLE BASS A TIME OF THE TORDINONA THE ALLEGED TOWN ALEXANDER’S FEAST ANYTHING YOU READ” ‒ A CHORALE TRADITION: UNCERTAINTY: SEASON OF 1671, OR WATCHMAN AND CECILIA, VOLGI CRITICAL EXAMINATION PURPOSE AND ORIGIN CHARPENTIER’S USE SCIPIONE ON THE SCHWAGHOFER ‒ A UN SGUARDO: OF J.F. FASCH’S OF ¢ AND 2 ROMAN STAGE TRUMPET VIRTUOSO IN HANDEL’S VOCAL ‘LEBENSLAUF’ (1757) CIVIC DUTY OR A WRITING FOR TENORS MUSIC HISTORICAL JOHN BEARD AND MISINTERPRETATION? CARLO ARRIGONI IN A MUSIC- 1736 ICONOGRAPHICAL STUDY Peter Holman Yael Sela-Teichler Szymon Paczkowski Michael O’ Loghlin José María Domínguez Christoph Riedo

ANOTHER LONG THIS, TOO, AN J.PH. KIRNBERGER AND MELODIC, HARMONIC ROMAN OPERA IN COLLEGIA MUSICA MOVEMENT: NEW ENLIGHTENMENT THEORY THE MUSICAL AND STRUCTURAL NEAPOLITAN AND THE LIGHT ON HANDEL OF MUSIC: MOSES PATRONAGE OF COUNT SYMBOLS IN THE PERIPHERY: AN DEVELOPMENT OF THE AND THE FIRST MENDELSSOHN ON THE WACŁAW RZEWUSKI IN LABYRINTHS OF J.S. UNKNOWN PUBLIC CONCERT IN VAUXHALL GARDENS SUBLIME IN MUSIC AND PODHORCE BACH AND MARIN PERFORMANCE OF CHI ORGAN POETRY MARAIS: WHO WAS SOFFRE SPERI AT IN PODHORCE THE MORE CEREBRAL TRANI IN 1649 ? 11.00 FROM PHILIP V AND SACRED MUSIC IN BACH’S STRING SOLO SACRED MUSIC IN MUSIC DURING MUSIC IN AUSTRIAN ‒ ARCHDUKE CHARLES ROME WORKS FRANCE ENGLISH AND CZECH 13.00 OF HABSBURG TO THE CHAIR: Christine Getz CHAIR: Yo Tomita CHAIR: Raphaëlle Legrand RESTORATION MONASTERIES BORBONIC CHAIR: Don Fader CHAIR: Marko Deisinger CONSOLIDATION: INSTRUMENTAL MUSIC IN THE IBERIAN PENINSULA AND AREAS OF MUTUAL INFLUENCE (THE SPANISH INDIES, ITALY AND VIENNA) CHAIR: Louise K. Stein Antonio Ezquerro Esteban Carrie Churnside Zoltan Szabo Catherine Gordon-Seifert John S. Powell Ikarus Kaiser

FROM PHILIP V AND ‘CHE ROMA VIVA DI “AN EXCEEDINGLY COMBATTING THE FRENCH MUSIC AND MUSIC PRACTICE IN ARCHDUKE CHARLES SENSI PRIVA È VAN CARELESS SCRIBE” ‒ DEMONS WITHIN: THE MUSCIIANS DURING THE CISTERCIAN OF HABSBURG TO THE PNSIER’: DEPICITONS J.P. KELLNER’S COPY ROLE OF JEAN-JOSEPH THE ENGLISH ABBEY OF WILHERING BORBONIC OF THE SENSES IN MID- OF THE BACH STRING SURIN’S CANTIQUES RESTORATION IN LATE BAROQUE CONSOLIDATION: SEICENTO ROMAN SOLO WORKS SPIRITUELS (1655) IN TIMES: THE INSTRUMENTAL MUSIC SACRED SONG MYSTICAL INVENTORY IN THE IN THE IBERIAN CONTEMPLATION AND MUSIC COLLECTION PENINSULA AND DEMONIC EXORCISM ESTABLISHED IN THE AREAS OF MUTUAL TENURE OF OFFICE OF INFLUENCE (THE ABBOT JOHN BAPTIST SPANISH INDIES, ITALY IV HINTERHÖLZL AND AND VIENNA) HIS SUCCESSORS Luis Antonio González Michela Berti Charles Medlam Louis Delpech Bryan White Michaela Freemanová Marín LECTURE RECITAL A PARTICULAR CASE IN THE HEART OF OF EXCHANGE: THE APPROACHES TO THE MUSICAL TRANSFERS LOST IN EUROPE: ORATORIOS BETWEEN NEAPOLITAN NATIONAL CHURCHES BACH VIOLONCELLO FROM FRANCE TO TRANSLATION?: IN THE EARLY 18TH OUVERTURE AND IN ROME AND THEIR SUITES, THE PURPOSE, NORTHERN GERMANY GRABU’S AND DRYDEN CENTURY PRAGUE FRENCH SUITES: A RE- RELATED ‘NATIONS’ ORIGINS AND (1694‒1696): NEW FS ALBION AND EXAMINATION OF THE PERFORMANCE OF THE SOURCES AND ALBANUS INSTRUMENTAL MUSIC SUITES A PERSPECTIVES FROM BY JOSÉ DE NEBRA VIOLONCELLO SOLO THE BOKEMEYER (1702‒1768) SENZA BASSO COLLECTION COMPOSÉES PAS SR. J.S. BACH MAITRE DE CHAPELLE Celestino Yáñez Navarro Roseen Giles Herbert Lindsberger Thierry Favier Katherina Lindekens Monika Kammerlander MUSICAL SOURCES OF JESUIT SPIRITUALITY IL SEGNO ‒ A TELEMANN’S DEUS WORDS AND MUSIC IN THE BODY OF AND THE FATE OF DISCUSSION OF JUDICIUM TUUM AT RESTORATIONS OPERA: BAROQUE SPIRITUAL IN THE MUSIC ARCHIVE CARISSIMI’S DIFFERENT THE CONCERT ALBION AND ALBANIUS SONGS FROM THE OF THE CATHEDRALS ORATORIOS MANUSCRIPTS AND SPIRITUEL: THE VERSUS KING ARTHUR SALZBURG OF ZARAGOZA: AN EDITIONS OF GAVOTTE FRENCH MOTET À BENEDICTINE IMPORTANT 2 FROM SUITE 6 BWV GRAND CHŒUR IN THE MONASTERY CONTRIBUTION TO 1012 FOR SCOPE OF CULTURAL NONNBERG INTERNATIONAL VIOLONCELLO TRANSFERS MARKETS FOR STUDY

Nuno Jorge Carvalho Alan Maddox Vasiliki Papadopoulou Marie Demeilliez Martin Adams Janet K. Page Mendes Dos Santos LECTURE RECITAL LECTURE RECITAL MUSICAL AFFECT AT THE JESUIT COLLEGE POETRY FOR READING A HAPPY UNION OF THE INTERSECTION PERFORMANCE OF LOUIS-LE-GRAND: OR SINGING? PURCELL, NOBILITY AND VIRTUE: CHAMBER MUSIC AND BETWEEN THE SACRED PRACTICE ASPECTS OF HIGH-PLACE OF MUSIC DRYDEN, DRAMATIC MUSIC AND VIOLIN REPERTOIRE AND SECULAR J.S. BACH’S SEI SOLO AND DANCE IN THE OPERA AND THE EDUCATION IN A (SPAIN, PORTUGAL REALMS: THE ‘STORM’ FOR VIOLIN AS 18TH CENTURY MUSICALITY OF THE VIENNESE CONVENT, C. AND INTERNATIONAL TOPOS IN TWO REFLECTED IN IAMBIC PARAMETER 1688 CONNECTIONS TILL UNREPORTED SOLO INSTRUCTIVE THE PEACE OF BASS MOTETS BY EDITIONS UTRECHT) THROUGH NICOLA PORPORA DOCUMENTARY SOURCES PRESERVED IN THE BIBLIOTECA DE CATALUNYA

14.00 Guided Tours 14.00 14.00 14.00 Meeting point: Foyer Traces of Music in Salzburg Stiftung Mozarteum: The autographs’ The Organs in Salzburg Metropolitan limited participation cellar Church € 5,- p.p. free of charge € 7,50 p.p. 17.00 LUTE MUSIC MUSIC IN MIDDLE AND ASPECTS AND TRACES INSTITUTIONAL VENETIAN OPERA MOMENTS OF ‒ CHAIR: Thomas NORTHERN GERMANY OF MUSICAL BAROQUE LAYOUTS AND CHAIR: Wendy Heller EXCHANGE BETWEEN 18.30 Hochradner CHAIR: Steven Zohn IN AUSTRIA PERFORMANCE ENGLAND AND CHAIR: Peter M. Krakauer PRACTICE IN ENGLAND IRELAND AND SCOTLAND CHAIR: Martin Adams CHAIR: Fred Fehleisen Jana Franková Janette Tilley Kimberly Beck Amanda Eubanks-Winkler Angel Manuel Olmos John Cunningham

MUSICAL AN UNEASY EROS: “WHERE A STRING BEYOND CHELSEA: ANTONIO LOTTI’S LA REVISION AND ADVENTURES OF SECULARIZATION AND HARMONIZES WITH A MUSIC AND DANCE AT FORZA DEL SANGUE REVIVAL: WILLIAM JOSEPH KOHAUT: THE CHANGING MUSICAL HUMAN VOICE THERE RESTORATION (1711) FULL SCORE BOYCE’S DAVID’S RESEARCHING OF EXPRESSION OF MYSTICAL THE HEARTS OF BOARDING SCHOOLS REDISCOVERED LAMENTATION OVER STYLE IDENTITY LOVE IN EARLY MODERN HEAVENLY ONES ARE SAUL AND JONATHAN ACROSS EUROPE OF GERMANY EASILY TOWARDS THE SECOND HALF OF THANKSGIVING AND THE 18th CENTURY PRAISE”: HEINRICH BIBER, INSTRUMENTAL MUSIC, AND THE LITURGY Tim Crawford Walter K. Kreyszig Ladislav Kačic Chris Price Carlo Bosi Estelle Murphy

MATTHIAS SIEGMUND “I HOPE THAT THIS WORK EMERICUS ESTERHÁZY AS THOMAS WAS STAGE AND “AS FULL OF IT PRO BIECHTELER AS LUTE WILL ONE DAY BRING ME ENSEMBLE IN THE CUDGELL’D ONE DAY LITERATURE: MODULO NOSTRO AS TEACHER FAME”: ON GEORG PHILIPP YEARS 1725‒1745 BY HIS WIFE: INTERCONNECTIONS LONDON CAN BE”: TELEMANN’S MUSIQUE DE REDISCOVERING THE BETWEEN LIBRETTOS MUSICAL TABLE (HAMBURG, 1730‒ MUSIC OF THE AND OTHER LITERARY RELATIONSHIPS 1736) AS A TESTIMONY OF CANTERBURY CATCH GENRES IN EARLY BETWEEN LONDON AND EXCEPTIONAL SPIRITUAL CLUB VENETIAN OPERAS DUBLIN IN THE EARLY NOURISHMENT IN THE 18TH CENTURY CONTEXT OF THE ‘STILUS MIXTUS’ Žak Ozmo Michael Robertson Erick Arenas Ronnie Gibson Giulia Giovani LECTURE RECITAL ‘REPRINTED TO MY GREAT THE ORCHESTRAL FOLK MEETS A VENETIAN AGENT IN VINCENZO GALILEI DAMAGE’: ENGLISH KYRIE AT THE COURS BAROQUE: THE ROME ON BEHALF OF AND THE WELL- SOURCES IN BALTHASAR OF VIENNA AND PERFORMANCE OF GRIMANI: POLO TEMPERED LUTE CHRISTOPH WUST’S SALZBURG CA. 1740- FIDDLE MUSIC IN 18TH- MICHIEL AND THE THREE 17TH-CENTURY 1760: CENTURY SCOTLAND JOURNEY OF 1674/75 EXERCITIUM WINDOW ON A COLLECTIONS OF DANCE BAROQUE GENRE IN MUSIC TRANSITION

20.00 Conference Dinner Festung Hohensalzburg Saturday, 12-07

9.15 ‒ SOURCES OF MUSIC IN TELEMANN AND ROUND TABLE: OPERA IN HAMBURG OPERA (I) AND BALLET OPERA CROSSING THE 10.45 ENGLAND AROUND 1800 NEUMEISTER TRANSALPINE AND HANOVER, IN 18 th CENTURY ALPS (II) CHAIR: Robert Shay CHAIR: Jeffrey Kurtzman GEMINIANI HAUTBOISTEN IN FRANCE CHAIR: Carlo Bosi CHAIR: Christopher PRUSSIA CHAIR: Graham Sadler Hogwood CHAIR: Ursula Kramer Janine Wiesecke Matthew Olson Participants: Samantha Owens Katharina N. Piechocki Antonella D’Ovidi

MUSIC LISTENING BEHIND MANIPULATING Enrico Careri “THE INCOMPAR-ABLE LA SINCERITÀ COMPOSITIONAL CLOSED DOORS: AND MYTHOLOGY IN OPERA: Peter Holman DIRECTOR”: J.S. TRIONFANTE: STRATEGIES AND WHAT PEPYS, EVELYN THE MUSICAL AND Mark Kroll COUSSER AT ARTICULATING GENRE, DRAMATURGY IN AND WOOD HAD TO SAY LINGUAL AFFECTATIONS Peter Walls HAMBURG’S EROTICIZING JOMMELLI’S FIRST ABOUT IT IN GEORG PHILIPP GÄNSEMARKT STERILITY IN EARLY DIDONE TELEMANN’S DIE THEATRE, 1694‒96 17TH-CENTURY ABBANDONATA IN WUNDERBARE LIBRETTOS ROME (1747) BESTÄNDIGKEIT DER LIEBE, ODER ORPHEUS (1726) Andrew Woolley Jeanne R. Swack ROUND TABLE: Corinna Herr Michael Klaper Metoda Kokole TRANSALPINE THE LATIN “A CURSE AND GEMINIANI MADNESS BETWEEN RECONSIDERING THE ROMAN AND CORRESPONDENCE OF ABOMINATION TO GOD COMEDY AND BALLET DE LA NEAPOLITAN OPERA JOHN CLERK OF PENICUIK: AND MEN”: ERDMANN TRAGEDY: ORTENSIO RAILLERIE (1659) ARIAS OF 1738 FURTHER LIGHT ON NEUMEISTER’S ANTI- MAURO’S AND SEASONS IN THE CLERK’S RELATIONSHIP JEWISH WRITINGS IN THE AGOSTINO STEFFANI’S TRAVELLING CASE OF WITH ITALIAN MUSIC AND CONTEXT OF EARLY 18TH- ORLANDO GENEROSO A STYRIAN NOBLEMAN MUSICIANS AND ON HIS CENTURY HAMBURG (HANOVER, 1691) STATUS AS AN AMATEUR Christopher Roberts Steven Zohn ROUND TABLE: Georg Corall Don Fader Ingrid Schraffl TRANSALPINE EDWARD FINCH AND THE MORALITY, GERMAN GEMINIANI THE LILIEN LE RÉGENT EN VENETIAN OPERA ITALIAN STYLE IN EARLY CULTURAL IDENTITY, AND PARTBOOKS IN THE BACCHUS? FRENCH BUFFA IN VIENNA: THE 18TH-CENTURY YORK TELEMANN’S FAITHFUL SONSFELD NOBLE SELF- CASE OF GALUPPI’S IL MUSIC MASTER COLLECTION: A CONSTRUCTION AND MARCHESE VILLANO PRIMARY SOURCE OF PHILIPPE D’ORLÉANS’S MUSIC FOR PENTHÉE (1703) HAUTBOISTEN IN 18TH- CENTURY PRUSSIA 11.15 SEICENTO ITALIAN CONSORT MUSIC IN BACH IN THE 20 AND SCHÜTZ AND DRESDEN ASPECTS OF EARLY BAROQUE SPECTACLES ‒ OPERA (II) AUSTRIA 21 st CENTURIES CHAIR: Barbara Reul ENGLISH OPERA CHAIR: Agnese Pavanello 12.45 CHAIR: Valeria De Lucca CHAIR: Walter K. Kreyszig CHAIR: Yo Tomita CHAIR: Alan Howard Cathérine Deutsch Charles E. Brewer Yulia Kreinin Benjamin Dobbs Patrick Bonczyk Naomi J. Barker

“JAMAIS IL N’Y EUT ECHOS OF VALENTINI CHOOSING AN OF THE DREADFUL NURSING THE SOUL: STADIUM BAROQUE: MUSIQUE SI INFLUENCE, OR THE ROCK AND THE SPIRITUAL HUNGER 17TH-CENTURY HORSE ARMONIEUSE”: RORSCHACH TEST: TIGER’S MILK: THE AND BABY-DEATH IN BALLET AS SOURCE FRENCH RECEPTION OF IMAGES OF BACH AS STYLUS LUXURIANS OF HENRY PURCELL’S FOR IMPROVISED THE FLORENTINE REFLECTED IN HEINRICH SCHÜTZ “WITH SICK AND INSTRUMENTAL CELEBRATIONS FOR TWENTIETH- CENTURY FAMISH’D EYES” Z200 ENSEMBLE MUSIC? MARIA DI MEDICI’s COMPOSITIONS AND HENRI IV’s WEDDING Wendy Heller Robert Rawson Chiara Bertoglio Gregory Johnston Rebecca Herissone Kelley Harness LECTURE RECITAL “PIÙ PROPRIA AL GOTTFRIED FINGER AS CREDIT, DEBT, AND MATTHEW LOCKE AND FIGHTING FOR DRAMEGGIARE”: IL MUSIC COLLECTOR AND INSTRUCTIVE ECONOMIC SURVIVAL “THE ENGLISH OPERA” RELEVANCE: GUERRA FAVORE DEGLI DEI, ARRANGER EDIITONS OF BACH’S IN THE ELECTORAL D’AMORE AND OPERA, AND OVIDIAN WELL-TEMPERED SAXON HOFKAPELLE FLORENTINE DRAMATURGY IN THE CLAVIER IN ITALY OF HEINRICH SCHÜTZ COLONIAL SEICENTO ASPIRATIONS IN THE FIRST DECADES OF THE 17TH CENTURY Robert Ketterer Maciej Jochymczyk THE ROLE AND AIMS Patricia Corbin Patricia Alessi Danielle M. Kuntz OF BACH NETWORK UK L’INCLEMENZA DI INSTRUMENTAL MUSIC BY IN BACH STUDIES DAZZLING DIVAS OF PERFORMING AS ONE “CHE I RAGGI TITO: NORIS’ TITO AMANDUS IVANSCHIZ: TODAY DRESDEN: SELECTED OF ENGLISH OPERA’S SPANDERÀ DAL TAGO MANLIO AND THE SOME REMARKS ON THE SOLO REPERTOIRE OF FIRST BITCHES, À ROMA”: TRANSLATION OF FORMATION OF THE Round-Table Bach Network SINGERS ASSOCIATED WITCHES AND WOMEN PORTUGUESE SELF- IMPERIAL AUTHORITY SYMPHONY AND STRING UK Advisory Council and WITH THE DRESDEN IN BRITCHES: RE- MYTHOLOGIZING IN TRIO Trustees: Ruth Tatlow AUGUSTAN COURT IN CREATING THE ROMAN BAROQUE (Chair), Peter Smaill (Chair THE MID 18TH EMOTIVE MUSICAL SPECTACLE of Trustees), Szymon CENTURY PERFORMANCE Paczkowski, Yo Tomita PRACTICES OF MARY “MOLL” DAVIS 14.00 GEORGE FRIDERIC CONTETXTS OF 18 th ANALYSIS AND 18 th CENTURY ITALIAN OPERA IN 18 th CENTURY BACKGROUNDS OF ‒ HANDEL (II) CENTURY OPERA AND RECEPTION OF BACH’S OPERA FRANCE (II) MUSIC IN HABSBURG 15.30 CHAIR: Suzanne Aspden BALLET WORKS CHAIR: David R. M. Irving CHAIR: Catherine Gordon- AUSTRIA CHAIR: Elisabeth Fritz- CHAIR: David Chung Seifert CHAIR: Michaela Hilscher Freemanová Judit Zsovár Jen-Yen Chen Christopher Gontar Anne Desler Ana Stefanovic Andrew H. Weaver LECTURE RECITAL MARIA THERESIA AND UNDERLYING NICOLINI AND COMPARISON OF MUSICAL DIPLOMACY HANDEL’S EXCEPTION THE ‘CHINESE’ VOICING STRUCTURE IN THE METASTASIO’S NARRATIVE AT THE END OF THE ‒ ANNA MARIA OF AUSTRIAN IMPERIAL WELL-TEMPERED METEORIC RISE TO STRUCTURES IN THIRTY YEARS’ WAR: STRADA, THE SELFHOOD: THE CLAVIER FAME LULLY’S AND NEGOTIATING THE DRAMATIC LYRICISM CONTEXTS OF RAMEAU’S TRAGÉDIES EMPEROR’S POWER IN OF A PRIMADONNA METASTASIO’S CHINA LYRIQUES ANDREAS RAUCH’S CROSSING THE ALPS OPERAS CURRUSTRIUM PHALIS AND THE BORDERS OF MUSICUS (1648) A VOICE TYPE Marjo Suominen Vera Grund Gergely Fazekas Kordula Knaus Rémy-Michel Trotier Katalin Kim-Szacsvai

TRACKING OPERATIC REFORMS AND J.S. BACH AND THE OPERA BUFFA ON THE HARMONIC TACTICS OF PERFORMANCE THE MEDIA TWO CULTURES OF ROAD: THE INNOVATION BEFORE REPERTORY TRADITIONS OF MUSICAL FORM DISSEMINATION OF AND AROUND RAMEAU COMPILATION OF HANDEL´S OPERA BALDASSARE SEEN THROUGH A VOCAL- GIULIO CESARE IN GALUPPI’S COMIC SELECTION OF FRENCH INSTRUMENTAL EGITTO OPERAS IN EUROPE OPERAS FROM THE ENSEMBLES IN 18 th - 1720S AND 1730S CENTURY HUNGARY Larissa Kirillina Elisa L. Bonner Hildrun Haberl Marco Beghelli John Pizer Matjaž Barbo

DRAMATIC REVISING OPERA SERIA REDISCOVERING THE MANLY VOICE OF FRENCH BAROQUE MUSIC IMPLICATION OF FORM CONVENTIONS IN BAROQUE ‒ A CASTRATI: A POMP VS. GERMAN ACCOMPANYING THE AND HARMONY IN PANTOMIME: GASPARO ROMANTIC APPROACH HYPOTHESIS ENLIGHTENMENT PUBLIC CELEBRATIONS HANDEL’S SAUL ANGIOLINI’S DEBUT AT TOWARDS JOHANN INWARDNESS: THE OF BAROQUE THE RUSSIAN COURT SEBASTIAN BACH’S ALCESTIS OPERAS OF LJUBLJANA CHACONNE BY FELIX LULLY/QUINAULT AND MENDELSSOHN SCHWEITZER/WIELAND BARTHOLDY AND ROBERT SCHUMANN 16.00 ASPECTS OF ENCOUNTERING ITALIAN SACRED MONODRAMA CULTURAL DIALOGUES OPERA IN 18 th CENTURY MUSIC IN NAPLES ‒ KEYBOARD MUSIC MUSIC IN ENGLAND AND ASPECTS OF BETWEEN ITALY AND FRANCE (III) CHAIR: Norbert Dubowy 18.00 CHAIR: Michael Dodds CHAIR: Gregory Barnett MUSIC THEORY AUSTRIA CHAIR: John S. Powell CHAIR: Michael CHAIR: Thomas Malkiewicz Hochradner Vincent P. Benitez Ester Lebedinski Robert Crowe Tassilo Erhardt Anita Hardeman Claudio Bacciagaluppi / LECTURE RECITAL Angela Fiore / Rodolfo DISTINGUISHING CULTURAL ENCOUNTER GIACINTO “AN ETERNAL PEACE”: Zitellini BETWEEN AS CULTURAL CAPITAL: ASSERTING BARBARA CORNACCHIOLI ‒ A VENUS AND THE PASSACAGLIA AND SAMUEL PEPYS, VINCENZO STROZZI`S OWNERSHIP MUSICAL FRENCH OPERA “MUSICO CIACCONA IN THE ALBRICI AND ROMAN OF OLEUM EFFUSUM HEADHUNTER FOR PROLOGUE, 1700‒1750 NAPOLITANO” ‒ AN ORGAN WORKS OF VOCAL MUSIC IN 1660s EST (GB-Lam/MS42) ARCHDUKE LEOPOLD ONLINE DIETRICH BUXTEHUDE LONDON WILHELM BIOGRAPHICAL INDEX OF MUSIC PROFESSIONS IN NAPLES Marcos Krieger Agnese Pavanello Alfonso Meave / Felipe John Lutterman Rebecca Harris-Warrick Marie-Louise Catsalis Orduña THE SUSANAS OF TGE OTHER CORELLI: “OB ES RATHSAM SEY RINGING DOWN THE A COLLECTION (OR MANOEL RODRIGUES ATTRIBUTED TO CONTRAPUNCTUS v.1.0: IN DIE COMPOSITION CURTAIN COLLABORATION?) OF COELHO ‒ FINELY CORELLI IN ENGLISH A SPECIES MANIEREN MIT SERENATAS FROM WOVEN BAROQUE SOURCES COUNTERPOINT EINZUSTREUEN, UND NAPLES, JULY 1696 DRESSES FOR A ANALYSIS AND SOLCHE EXPRESS RENAISSANCE GENERATION FORMULIS ZU CHANSON SOFTWARE BASED ON ANNOTIREN?” ‒ THE RULES OF FUX, JOHANN BEER ON THE JEPPESEN AND SALZER VALUE OF WRITTEN- OUT ORNAMENTATION Matthew Hall Matthew Gardner Andrej Šuba Teresa Chirico Raphaëlle Legrand Teresa M. Gialdroni

COMPOSING HANDEL`S SINGERS AND INTRODUCTIO IN THE IMPERIAL SHE WHO HOLDS THE POPULAR KEYBOARD THE TRANSITION FROM GENERALEM BASSUM AMBASSADOR JOHANN LYRE: ALLEGORIES OF CHARACTERS IN THE COUNTERPOINT ITALIAN OPERA TO JOHANIS FRANCISCII WENZEL VON GALLAS, FEMALE CREATIVITY NEAPOLITAN CANTATA ENGLISH ORATORIO IN PATRON OF THE IN RAMEAU’S OPERA DURING THE 17TH THE 1730s AND 40s SERENATA SACRIFICIO CENTURY A VENERE BY GIOVANNI BONONCINI (ROME, 1714) Ulrich Leisinger Graydon Beeks Lawrence Molinaro Andrea Zedler Francesco Cotticelli / LECTURE RECITAL LECTURE RECITAL Paologiovanni Maione “SWEET BIRD”: THE STORY “A LA LOUANGE DE FROM KEYBOARD OF DAME NELLIE MELBA’S EXEMPLARS FROM SON ALTESSE “COMMEDEJAPE’MUSE SUITE TO KEYBOARD 1907 RECORDING JOHANN MATTHESON’S SERENISSIME”: THE CA”: A NEW IN THE MID- GROSSE GENERAL-BASS- SIGNIFICANCE OF DATABASE, A NEW 18th CENTURY SCHULE (1731) EARLY MODERN APPROACH TO THE TRAVEL JOURNALS HISTORY OF A FOR MUSIC- MUSICAL GENRE HISTORICAL RESEARCH

20.00 Delegates’ Concert Solitär Sunday, 13-07

10.15 Business Meeting Kleines Studio

11.30 Excursion / Großglockner Hochalpenstraße (bad weather: Salzkammergut) Bus waits Paris-Lodron-Straße (2 minutes’ walk from University Mozarteum)