Musical Life in Europe 1600-1900 1 Circulation, Institutions, Representation

Contents Page Editorial 3

Workshop Activities 1. Italian Opera in Central Europe, 1614-ca. 1780 4 2. The Opera Orchestra in 18th- and 19th-Century Europe: Social, Institutional, and Artistic Problems 5 3. The Concert and its Publics in Europe Formes d’organisation collectives du concert 8 4. Centre and Periphery: Musical Exchanges in Europe, 1600-1900 10 5. Musical Education in Europe (1700-1914): Compositional, Institutional, and Political Challenges 12 6. Mid-term Conference: Le Musicien et ses Voyages – pratiques, réseaux et représentations 15

News – Informations The Project The Baltic Area as a Musical Landscape 17 Les Noces de Pélée et de Thésis: un colloque CEFI-CNRS (Turin Chambéry, 3-7 novembre 1999) 19 ERASMUS/TEMPUS, Network in Music and Musicology 20 Calendar of Events 2000 – Calendrier 2000 21

Reviews – Comptes Rendus 22

Steering Committee 25 Team Leaders 26

Travel Grants (call for applications) 27 2 Editorial 3

he year 2000 marks the beginning programme, that is to say a shift of Tof the third and penultimate year of cultures. A recent review of the work the ESF programme Musical Life in presented on this occasion has led us to Europe, 1600–1900: Circulation, propose a second workshop in the near Institutions, Representation. The first future in order to investigate further the two years of the programme, 1998 and modalities of these travels and what they 1999, were devoted to an intensive represent, as well as to fill in a number evaluation of the present state of of lacunae that have been identified. research, looking particularly at the methodological problems involved and, Certainly one of the most gratifying by so doing, studying and developing results of the meetings organised to the various themes of the programme. date has been the fostering of extensive To date nearly 120 researchers, personal contacts between researchers participating in six large public colloquia from diverse European scholarly and five smaller workshops, have communities. In order to support these contributed to this ambitious effort. exchanges and to increase such contacts among the members of the programme, The present issue of our Newsletter a discussion forum will be launched in brings together the reports resulting the near future on the ESF Web site from work carried out in 1999. In (http://www.esf.org). It is our hope addition to exploring the programme that this site will actively contribute to themes, each of the five study groups the intellectual life of the project by has designed an editorial programme providing the locus for a broad that will lead to the publication of a exchange of ideas and information both series consisting of thirteen volumes. within and – especially – among the five The two coming years will be devoted thematic groups of the programme. primarily to the process of finalising these publications, the first of which is Finally, we want to strongly encourage scheduled to appear in 2001. interested pre- and postdoctoral researchers to participate in the research Early in the planning stages of this undertaken in the different groups. To project we decided that a period of this end, as has been the case in review and reflection would be previous years, a number of competitive appropriate halfway through the grants will be offered to finance the programme. The year 1999 was travel and subsistence costs of such therefore marked by the organisation of junior scholars. The terms and a “transverse” colloquium on “The conditions of these grants will be found Musician and His Travels”, held in on page 27. Göttingen in September. This lively symposium, attended by over 20 Professor Dr. Christoph- researchers from the different thematic Hellmut Mahling groups, provided an opportunity to focus Dr. Christian Meyer upon the central theme of the Professor Dr. Eugene K. Wolf 4 Workshop Activities

Group 1 relationship of “Hofoper” within the wider concept/frame of “Hofmusik”. Italian Opera in Central Isolated performances as well as lasting Europe, 1614-ca. 1780 traditions depend in many cases on dynastic constellations, and on single or Braunschweig, 7-9 May 1999 collective promoters, whose activities In several descriptions of the general are embedded in a specific political, programme, Group 1 had identified the cultural and social context. These research areas of “Institutional history/ aspects have been illustrated by several Migration” and “Representation” as case studies that analyse the individual two of its main research goals. As a circumstances of rise and decline of result, two workshops had been hitherto operatic institutions and traditions. dedicated to these subjects. The first of Although the examples cover a wide these was the international conference range of geographic areas like present- entitled “European Baroque Opera: day Austria, Slovenia, Poland, South Institutions and Ceremonies”. The Germany and the Netherlands, they are conference, organised by Reinhard not to be understood as a history of Strohm, took place at Oxford University Italian opera outside Italy, and therefore in November 1998. have no intention of completeness; they are illustrations of possible kinds of In 1999, the group’s main concern was to practice, of imperial and non-imperial discuss the wealth of material presented court opera, and of initiatives by at the first conference, and to carry academies and civic patronage. The further our investigation of this field. example of Italian opera in Spain, For this purpose a second workshop, although not strictly in the central attended exclusively by the core group geographic area of the research project, members, was held in Braunschweig (7 may also be taken into account. Baroque to 9 May 1999), a city important in the society is based on a social and political early history of Italian opera in concept of life that is highly determined Germany. The contributions of the by ritual aspects. While on the one hand previous Oxford conference underwent a the musical drama on stage reflects the close scrutiny and examination in view ceremonial rules that govern Baroque of the publication of the first volume of society, the establishment and the group planned series which will implementation of opera on the other report the results of the research may be interpreted in itself as a cultural undertaken thus far. The results that can act and ceremonial highlight. In this tentatively be stated show the necessity sense ceremonies may be understood as of a renewed discussion of the basic motivation and pre-condition of any models of organisations and operatic activity and thus linked to the institutions, i.e. the various types of institutional aspect of the establishment organisational structures like court of opera. The relation of ceremonies on theatre and public opera, as well as the stage (as manifested for instance in 5

many dramas by Metastasio) that reflect spectators, and especially by northerners real day-to-day rules, the opera visiting Italy. Thus the problem of performance as ceremony, and the “italianità” may be summarised by the utilisation of opera for certain political twofold question of how Italian was purposes are illustrated by various “Italian” opera, and how it was examples from European centres, from considered to be Italian. Hamburg to Naples and from Vienna to Dr. Norbert Dubowy Madrid. The outlines of the research programme for the following years were also discussed. Preparations for a large Group 2 conference to take place in Vienna on 22- 24 September 2000 are already going on. The Opera Orchestra in The thematic label “italianità” chosen 18th- and 19th-Century for this conference is conceived as a Europe: Social, Institutional, collective term and as an attempt to and Artistic Problems define the position of Italian opera Copenhagen, 27-30 May 1999 within the courtly or urban culture of central Europe, one that is often The conference, hosted by the Royal characterised by a mixture of Danish Academy of Sciences and indigenous traditions and foreign Letters in Copenhagen, centred on four influences. “Italianità” in fact comprises principal themes: (1) national, regional, a variety of different aspects of Italian and local aspects in the material and opera both as literary and musical res social history of the opera orchestra; (2) facta, as well as a matter of the orchestra, opera production, and the performance. Fields of investigation public; (3) the circulation of music and may not only include the Italian style of musicians; and (4) the opera orchestra the music, but also the Italian art of as an institution in 19th-century musical singing and acting. Although the life. expression “after the Italian manner” is in many cases already a synonym for The opening session was devoted to the “opera” (i.e., a drama entirely set and state of current research, the availability performed in music), it is necessary to of sources, and aspects of regional explain to what extent Italian dramma histories and performance practices. per musica is linked to the Italian While virtually intact archives in some language, as well as to Italian literature countries – such as Sweden and and its tradition, and also whether there Denmark – have spawned important are cross relations between the Italian histories of national opera houses literature and the local, in most cases (available so far largely only in the German, language and literature. One native language and hence of limited important question is how Italian opera impact on international scholarship), was perceived by contemporary the lack of stable theatrical institutions 6 Workshop Activities

has elsewhere – and notably in Spain – The third session centred on the led to the dispersion and destruction of relationship between repertoire and the much primary material and consequently opera orchestra. The introduction of a dearth of research. In spite of such new works outside the usual repertoire apparent disparity, comparable of a company, such as grands opéras in documentation is rapidly emerging on countries other than France, could effect the size, proportion, and types of alterations in the orchestra’s structure. instruments used by the various Case studies have shown that such European opera orchestras, and the changes could be temporary, put in effect the diverse performance practices place only for the duration of a had on the repertoire. New data particular production (e.g., the staging concerning the extensive network of Meyerbeer’s Le Prophète at the established by travelling instrumentalists Teatro Regio of Parma in 1853), but and the rise of dynasties of players at might also have a more lasting impact court and city theatres raises further on orchestral practices and the questions about the circulation of constitution of an opera orchestra. This performance practices and of reciprocal session also focused on institutional influences between players and repertoire, aspects. New evidence on the financial which still require detailed analysis. and artistic organisation of the opera The second session focused on the orchestra, including recruitment, orchestra’s relation with the opera house membership, size, contracts and management and the public. Orchestras, salaries, confirms that the orchestra, however stable, often needed to recruit both at established theatres (like the extra musicians for specific productions. Paris Opéra) and in short-lived On the other hand, musicians would companies (such as the London look for performing activities outside Pantheon Opera), operated within a the opera house to increase their well-defined system of rules which income. Tensions between management reinforced its institutional character. and musicians, and operatic and concert institutions, were not uncommon and The last two sessions were devoted to led to changes in the constitution of the discussions of methodology, publication opera orchestra. The audience’s and future research. A first volume will perception of the opera orchestra also comprise historical and regional aspects underwent a considerable transformation. in the development of the European Reviews published in Italian periodicals opera orchestra in the late 18th and 19th of the early to mid-19th century still centuries. This will cover, amongst consider the orchestra a “noisy” others, the orchestra’s organisation, component of the performance; by the structure and relations with other early 1860s, however, critics of the musical institutions; the purpose will be Gazzetta Musicale di Milano frequently to clarify the similarities and differences report on the orchestra’s musical and in the institutionalisation of the dramatic function. orchestras, and to provide a typology. A 7

second volume will consist of in-depth . Anthony R. DelDonna (Georgetown case studies of particularly important University), “Raising the Curtain: The aspects in the history and development Organizational Structure and Life of the of the opera orchestra. San Carlo Opera Orchestra in Late 18th Century Naples”. List of contributions . Antonio Rostagno (Torrazza di . Juan José Carreras (University of Imperia), “How Drama Modified Opera Zaragoza) and José Maximo Leza Orchestra Performance in the 19th (University of Salamanca), “Opera Century Italy from Reviews and Articles Orchestras in Madrid during the 18th in Contemporary Periodicals”. and 19th Centuries: Their Documentary . Dexter Edge (Luisiana State Sources”. University), “The Transition from . Damien Colas (CNRS, Paris), Hofkapelle to Professional Theatre “L’orchestre de l’Opéra: mise en Orchestra on 18th-Century Vienna”. perspective de la lecture de Constant . Elisabetta Pasquini (Bologna) and Pierre (1888) et d’autres sources Anna Tedesco (University of Bologna), organologiques”. “Meyerbeer’s Impact on Italian Theatre . Manuel Carlos De Brito (University Orchestras: Il Profeta in Parma, 28 of Lisbon), “18th-Century Opera December 1853”. Orchestras in Portugal and Their . Tibor Talliàn (Hungarian Academy Connections with 19th-Century of Sciences, Budapest), “The Prophet in Orchestras”. the Province”. . Luisa Cymbron (University of . Hervé Audéon (CMBV, Versailles), Lisbon), “The Opera Orchestra in “Organisation et évolution de l’orchestre Portugal in the First Half of the 19th de l’Opéra de Paris d’après ses Century. A First Report”. règlements”. . Reiner Nägele (Württembergische . Gabriella Dideriksen (London), Landesbibliothek, Stuttgart), “The “‘The Band as usual from the Stuttgart Court Orchestra in the 18th Professional Concert’: the Organization and 19th Centuries. A Report of the of London’s Opera House Orchestra in Sources and a Reflection on Current the Late 18th Century”. Musicological Research”. . Owe Ander (Stockholm), “The . Antonio Carlini (Trento), Royal Swedish (Court) Orchestra, 1772- “Suggestioni sceniche 1885”. nell’organizzatione del suono: dall’orchestra alla banda, all’organo”. Dr. Gabriella Dideriksen . Rachel Cowgill (University of Huddersfield), “ ‘To Attach to the King’s Theatre a Band of its Own’: Moves to Reform and Consolidate London’s Italian Opera Orchestra in 1829”. 8 Workshop Activities

Group 3 XVIIIe siècle, l’apparition, ici et là, d’“entrepreneurs indépendants” The Concert and its Public organisant des concerts sur la base de in Europe “souscriptions”. De même, au XIXe Formes d’organisation siècle, les associations et sociétés collectives du concert : institu- d’amateurs, de plus en plus nombreu- tionnalisation et pratiques ses, et les musiciens eux-mêmes Göttingen (Max-Planck-Institut contribuent à animer et enrichir la vie für Geschichte) musicale. 25-27 mars 1999 Depuis 1700 environ, certaines églises étaient devenues le lieu de “concerts Le colloque sur les “Formes d’organisa- tion collectives du concert: institutionna- spirituels publics” (Fr. Blume). Les formes d’organisation et la nature des lisation et pratiques” entendait exami- ner les pratiques d’organisation des œuvres exécutées étaient alors tenues de répondre aux conditions spécifiques de concerts entre 1700 et 1900 dans une large comparaison européenne. Les l’espace “sacré”. Mais cet espace devait aussi progressivement s’ouvrir à la contributions ont abordé ainsi le problème des organisateurs des concerts musique profane. à partir du XVIIIe siècle et leurs En général, seules les cours intentions, les multiples formes d’orga- européennes pouvaient s’offrir le nisation des concerts ainsi que leur effet financement d’un orchestre permanent. sur l’évolution du répertoire musical des Cette règle s’observe encore au XIXe concerts. siècle. La cour de Meiningen de la Les études qui furent présentées ont seconde moitié du XIXe siècle offre à cet montré qu’il existait de multiples égard un bel exemple de mécénat formes d’organisation de concerts, princier – mais certes plutôt atypique. différentes d’un lieu à l’autre, à la fois Les difficultés qu’une ville dans les grands ateliers européens commerçante comme Göteborg ou une comme Londres, Paris, Vienne, Prague métropole comme Turku ont ou Naples, mais aussi dans les contrées rencontrées à entretenir des orchestres périphériques du nord de l’Europe, permanents – et le “retard” de ces villes comme à Göteborg ou à Turku. Ces –, montrent à l’évidence que la présence études ont contribué à mettre en d’ensembles musicaux permanents évidence les modifications structurelles demeurait, au XIXe siècle encore, un des formes d’organisation du concert, élément de la pratique culturelle des leurs décalages spatio-temporels et la cours. mixité des formes. Le “concert spirituel” est l’une des En marge des organisateurs tradition- premières sociétés de musique. Elle nels de la vie musicale – l’église et la devint par la suite un modèle pour cour notamment –, on observe, dès le d’autres sociétés de musique du XVIIIe 9

siècle. La “Philharmonic Society” de Salzburger fürsterzbischöfliche Hof”. Londres devait offrir à partir de 1813, . Christoph-Hellmut Mahling (Mainz, mais avec un succès variable, un support Universität Mainz): “Zur Kompetenz permanent pour l’activité musicale de und Inkompetenz des Hofes im Berliner musiciens engagés à cet effet. Les Musikleben der ersten Hälfte des 19. prétentions musicales et esthétiques se Jahrhunderts”. heurtaient toutefois à des possibilités . Hans-Joachim Hinrichsen (Berlin): financières limitées et aux querelles “Die Meininger Hofkapelle in der Ära opposant mécènes et organisateurs. Les Bülow”. sociétés de musique toujours plus nombreuses se différencièrent au cours Les Églises du XIXe siècle. On assiste d’une part à la . Thierry Favier (Université de formation de sociétés de musique Dijon), “Aux origines du Concert animées par des musiciens et pour des Spirituel: pratiques musicales et formes musiciens, mais aussi à la création de d’appropriation de la musique dans les diverses formes d’organismes bénéfi- églises parisiennes de 1700 à 1725”. ciant d’un soutien privé. L’exemple . Damaso Garcia Fraile (Universidad parisien de la fin du XIXe siècle révèle de Salamanca), “Programaciòn de ainsi au moins quatre formes d’organi- actividades musicales y dansas en las sation de concerts différant à la fois par Catedrales españolas desde 1600 a 1850 leur finalités sociales, leurs origines, les durante las ‘siestas’ musicales”. membres qui les composent, le statut . Heinrich W. Schwab (Musik- des musiciens et la programmation de videnskabeligt Institut, Kobenhavn), leurs concerts. “Zur Organisation der Lübecker Abendmusiken im 18. Jahrhundert”. L’étude de l’évolution des programmes Robert N. Freeman (Santa Barbara, des concerts organisés par ces sociétés . University of California), “The n’en est pour l’instant qu’à ses débuts. Function of the Austrian Abbeys for On observe d’une part l’affirmation Organizing a Secular Concert Life in the progressive d’une politique de Eighteenth and Ninenteenth Centuries: programmation spécifique. Il apparaît The Case of Melk”. d’autre part que le concert s’ouvrait également à un plus large public. Les Sociétés de concert au XIXe siècle Liste des communications . William Weber (Long Beach, La cour California State University), . Francesca Seller (Napoli), “Tra la “Subscription Concerts: A Matter of corde e la citta: indagine sul sistema Hegemony”. dello spettacolo a Napoli nel . Anders Carlsson (Göteborg Settecento”. University), “The Formation of a . Rudolf Angermüller (Salzburg, Professional Concert Life alongside of Mozarteum), “Die Mozarts und der the Formation of Professional 10 Workshop Activities

Orchestras in Göteborg in the Second Group 4 Half of the 19th century”. . Matti Vainio (University of Centre and Periphery: Jyväskylä), “The Role of the Music Musical Exchanges in Societies for the Organization of the Europe, 1600-1900 Concert Life in Finland round the 19th Brussels, 4-5 June 1999 Century”. . Michaela Freemanova (Kamenny The group “The Circulation of Music” Privoz), “Prague’s Tonkünstlersozietät deals with the ways music was (1803-1903) and its Role in the Musical disseminated in Europe, from composer Life of the City”. to customer, either in print or in . Laure Schnapper-Flender (Paris, manuscript. Special focus falls on EHESS), “La Société des compositeurs dissemination over national or cultural de musique (fondée en 1862): société borders. In principle, attention is given savante ou société de concerts ?” to the full period of the ESF project . Jann Pasler (San Diego, University (1600 to 1900), but there is a certain of California), “Music in Service of concentration on the period 1700-1850, Public Utility in Four Late 19th century during which essential changes took French Concert Societies”. place in the ways music was . Simon Mc Veigh (Goldsmiths disseminated: from a more or less University of London), “Rivals and luxury good, it became a product for Alternatives: the New Philharmonic mass consumption. This change affected Society and the Society of British every aspect of the production and Musicians”. dissemination process: the techniques of . Cyril Ehrlich (Old Headington), producing printed music, what was “Surviving Competition: the being printed and how, the manner in Philharmonic Society in London”. which music was published and sold, and the ways in which it was received, Dr. Patrice Veit used and collected. All these topics fall within the boundaries the group has set for itself.

On 4-5 June a meeting was held in Brussels, devoted to the broad theme “Centre and Periphery: Musical Exchanges in Europe 1600-1900”. Attending were the core group and a number of invited speakers. The main topic was the study of the processes at work when music or musicians travelled between the countries generally considered “central” in European 11

musical life (Italy, France, Germany) . Antonio Ezquerro, Josep Pavia, and and countries which may be seen as Luis González-Marín (Barcelona, Spain) “peripheral” (Scandinavia, Eastern reviewed the position of Spain in the Europe, Spain, the British Isles, etc.). musical history of Europe in the light of These processes of exchange could take the “Centre-and-Periphery” concepts. a multitude of guises, ranging from the periphery’s simple imitation of the . Luca Aversano (Cologne, Germany) centre to the establishment of the talked about “The Transmission of periphery’s own musical culture, which Italian Musical Articles via Austria and may in turn be recognized by the centre Germany to Eastern Europe”. as a valuable contribution to musical life . Jeroen van Gessel (Utrecht, in general. The circulation of musicians Netherlands) gave a presentation throughout the periphery and the entitled “Aspiring To Be a Centre: The formation of local musical cultures were Early 19th Century Dutch Musical also touched on. Debate”, in which he investigated how a Rudolf Rasch opened the conference by peripherical country might become introducing the theme in the form of a central to music history. number of statements. Then nine . Marie Cornaz (Brussels, Belgium) presentations by the special invitees studied the circulation of music in followed, sometimes given in pairs: Brussels during the 18th century and the . Greger Andersson (Lund, Sweden) specificities of the Belgian capital in its made remarks on the hiring of foreign relations with the rest of Europe. musicians by some Scandinavian . Olivia de Wahnon Oliveira monarchs – such as Christian IV of (Brussels, Belgium) spoke about Denmark, Christina and Gustavus III of “Counterfeiting outside Paris in the Sweden – and on the strong German 18th Century as a Reaction against the influence during the 18th and 19th Capital City’s Monopoly: An Example centuries. from Liège”.

. Zoltan Fárkas and Kim Szczvai These presentations will be discussed (Budapest, Hungary) commented upon and reworked as part of a book to be the many foreign musicians active in entitled Centre and Periphery: Musical Hungary during the 18th and early 19th Exchanges in Europe, 1600-1900. centuries. Dr. Rudolf Rasch . Aleksandra Patalas (Krakow, Poland) discussed the large influx of Italian musicians in Poland during the first half of the 17th century, whereas Renata Suchowiejk (Krakow, Poland) concentrated on the “Présence musicale polonaise à Paris au XIXe siècle”. 12 Workshop Activities

Group 5 . Davide Daolmi (Ph.D. candidate, Rome): “Alle origini del Conservatorio Musical Education in di Milano. L’alibi del modello francese Europe (1770-1914): e le sorti dell’opera italiana”. Compositional, . Jeroen van Gessel (Ph.D. candidate, Institutional, and Political Utrecht): “In search for a Proper Model: Challenges the Dutch Debate on National Music Schools”. Brussels, 29-30 October 1999 . Beatriz Montes (Ph.D. candidate, Twenty-one papers were presented by Tours): “Le Conservatoire de Madrid, contributors originating from eleven entre Naples et Paris”. different European countries and the . Rémy Campos (Ph.D. candidate, USA. The papers, a majority of which Tours): “Les Rapports du Conservatoire centred on the study of individual de Genève avec Paris (1835-1860)”. institutions, were grouped together according to the sections of the group’s Section 3: The Compartmentaliza- prospective publication; these sections, tion of Music Education which were spelled out in last year’s . Katharine Ellis (Royal Holloway, Newsletter, are aimed at identifying University of London): “An Insurmoun- some major issues around which a study table Barrier”: Choron versus the of conservatoires can be approached on a Conservatoire during the Restoration European scale. and the July Monarchy”. . Rebecca Grotjahn (Essen): “Das Section 1: The Waning of the Leipziger Konservatorium zwischen Italian “conservatorio” as a Model Konservatismus und künstlerischem . Helen Geyer (Hochschule für Musik, Fortschritt”. Weimar): “Thesen zur Auflösung der . William Weber (California State venezianischen ospedali”. Univ., Long Beach): “Concerts at Henrik Karlsson (Royal Swedish . Conservatory in the 1880s: a Comparati- Academy): “The Origin of the Royal ve Analysis”. Swedish Academy”. . Michel Noiray (CNRS-Bibliothèque Section 4: Innovations in nationale, Paris): “ L’École royale de Compositional Techniques as a chant (1784-1795): l’impossible modèle Challenge to the Teaching Manuals napolitain”. and Repertoire Section 2: The Paris Conservatoire . Renate Groth (University of Bonn): and Subsequent Creations in “Vincent d’Indy und die Schola Europe cantorum”. . Emmanuel Hondré (Cité de la . Christa Jost (Richard Wagner- musique, Paris): “Le Conservatoire de Gesamtausgabe, Munich): “Wagners Paris : une institution à la recherche de Münchener Gegenentwurf zum sa mission nationale (1795-1848)”. Hauser’schen Konservatorium”. 13

Section 6: The Degrees of Section 8: Attitudes of Conservatoires Institutionalization and State to the Theoretical and Historical Control Discourse on Music: Musicology as a . Jean-Jacques Eigeldinger (University New Discipline of Geneva): “Destinées de la . Michael Fend (King’s College, transmission pédagogique de Chopin : London): “Riemann als Theoretiker entre enseignement privé et institutions und Pädagoge”. (1850-1910)”. Yves Gérard (Paris Conservatoire), . Lynn Mary Sargeant (Ph.D. Lynne Heller (Universität für Musik candidate, Indiana University): und Darstellende Kunst, Vienna), and “Ambivalence and Desire: Music Jean Mongrédien (University of Paris Education and Mechanisms of State IV) participated in the debates. Control in Imperial Russia”. The following remarks arise from the Section 7: National Idioms as a discussion which ensued at the end of Challenge to the Concert Repertoires each paper and which concluded each and Teaching Manuals day’s work. They follow a roughly . Henri Vanhulst (Université Libre de chronological order, from the early Bruxelles): « Fétis et l’idée de musique Venetian conservatories, at the end of belge ». the eighteenth century, to pedagogic . Christine Ballman (Université Libre developments extending up to the de Bruxelles): “Le conservatoire outbreak of World War One. d’Anvers et le nationalisme flamand”. Institutions such as the Italian . Jann Pasler (University of California, San Diego): “State Politics and the conservatorii or the École royale de French” Aesthetics of the Prix-de-Rome chant in Paris were doomed either to cantatas, 1870-1900”. transform themselves or to disappear in relation to their dependence on . Maria Eckhardt (Liszt Museum and Research Centre, Budapest): “Nationale changing economic and political ou européenne : la naissance de conditions. The Venetian conservatories l’Académie de musique à Budapest”. remained self-reproducing and inward- looking in a period when their . Matti Vainio (University of Jyväskylä): “Creating National and supporting institutions ceased to Political Identity through Music and subsidise them on a scale which would Musical Institutions in Finland at the make them financially viable. End of the 19th Century”. The paradigmatic importance of the Paris Conservatoire can be assessed on the basis of a variety of factors. It was a purveyor, on the European scale, of “ methods ” meant to rationalize the teaching and learning of music. It served as a reference to Dutch, Milanese 14 Workshop Activities

and Spanish founding members of music. This trend, which was by no conservatoires when it came to drafting means universal in nineteenth-century statutes and regulations, even if new Europe, went parallel with a rediscovery ideas were adopted in each place. It of Renaissance music and of native represented a more public type of folklore. Nevertheless, the attempts at teaching, open to larger numbers and promoting national music are to be set appealing to new classes of citizens. For against the increasing dominance of a decades after its foundation the Paris repertory of classics originating mainly Conservatoire remained the aim of from Germany. formative trips for pupils or musicians from various parts of Europe. An important trend, in the second half of the nineteenth century, is a critical Very soon, though, the model of the approach to a type of musical education Paris conservatoire was challenged in geared primarily to the technical aspects France itself. Counter-institutions like of performance. New remedies were Choron’s Institution royale de musique proposed to broaden an overly religieuse (1817) or, later in the century, specialized musical education; in d’Indy’s Schola cantorum (1896) were various institutions history and analysis bearers of an ideology which went well were brought into the syllabus in the beyond purely musical matters; in its attempt to build all-round musicians, turn, the Conservatoire, which could not with a strong theoretical grounding. always sustain the universalist principles These new disciplines partly contributed that lay behind its conception, was to solve the quandary of the teaching of strongly re-invested with political and composition, which appeared to many national values after France’s defeat of musicians, all over the period under 1870. consideration, as unfit for didactic codification. The Leipzig Conservatoire can be considered as a new model, from the Group 5 will hold two workshops in the 1850’s onward, both by its international year 2000. A reduced group will meet in outlook and its emphasis on artistic Strasburg on 11-12th May; a plenary achievement. The elitist need for meeting is planned for 30th November - musicians trained at an advanced level 1st December in Mainz. was counterbalanced, however, by strong contingents of pupils, in all institutions, Dr. Michael Fend whose aspirations or capabilities did not Dr. Michel Noiray go beyond those of a decently trained amateur.

One of the driving forces behind the foundation of conservatoires, as early as the end of the Napoleonic wars, was the assertion of a national identity through 15

Mid-term Conference portait l’enquête étaient les musiciens (compositeurs, virtuoses, chefs Le Musicien et ses Voyages d’orchestre, orchestres et musiciens d’orchestre, chanteurs, troupes Pratiques, réseaux et d’opéra...), mais, aussi d’autres acteurs, représentations non moins importants, de la vie Göttingen, 9-10 septembre musicale (impresarios, éditeurs, 1999 facteurs d’instruments, critiques (Max-Planck-Institut für Geschichte) musicaux, dilettantes...). Parallèlement, ce colloque entendait engager une Organisation: Hans Erich Bödeker, réflexion sur différentes sources (sources Christian Meyer, Patrice Veit. autobiographiques et mémoires, récits de voyage, correspondances, annonces Ce colloque organisé au titre de la de concert ou de représentation, presse), “mid-term conference” du programme sur leur mise en œuvre et sur leur Musical Life in Europe avait pour interprétation par rapport au thème finalité pratique de recentrer les retenu. travaux des différents groupes par rapport à la problématique générale du Une grille d’analyse avait été adressée programme. Les travaux présentés et aux participants afin d’orienter la discutés au cours de ces journées préparation de leur communication. Les entendaient par ailleurs défricher un textes des interventions étaient parve- domaine encore peu abordé, ni par les nus aux organisateurs du colloque au historiens de la musique, ni par les mois d’août. Le regroupement par spécialistes de l’histoire des voyages. Ce thème présentant d’évidentes difficultés double objectif a été partiellement en raison de la disparité des communi- atteint à la satisfaction partagée par les cations, les organisateurs ont adopté un participants à ces journées et par les parcours chronologique étalé sur les organisateurs. quatre demi-journées de cette rencontre. Une large place avait été réservée aux Les participants à ces journées avaient discussions, puisque les communica- été invités à examiner les motifs, les tions étaient présentées par divers buts, les modalités du voyage des rapporteurs. Elles seront ultérieurement musiciens, du XVIIe au début du XXe remaniées dans la perspective d’un siècle, ainsi que ses conséquences pour ouvrage à caractère monographique. leur carrière individuelle. Il était entendu que les voyages devaient être Les organisateurs de ce colloque se sont envisagés comme autant de modes de réunis au mois de janvier 2000 à transferts culturels et musicaux, Royaumont afin de faire le point sur les accompagnant la circulation des résultats du colloque et discuter de la pratiques et des répertoires et favorisant suite à donner. Une seconde table-ronde, l’internationalisation de la vie musicale plus inter-disciplinaire, pourrait être en Europe. Les voyageurs sur lesquels organisée en l’an 2000 : elle associera 16 Workshop Activities

des historiens spécialistes des pratiques . Peter Cahn, “Frankfurt als Stadion culturelles et des voyages à un noyau reisender Virtuosen im 18. Jahrhundert” d’historiens de la musique. Un (II). représentant de chaque groupe du . Arnfried Edler, “Reisende programme Musical Life in Europe Organisten im späten 18. und in der sera, par ailleurs, invité à y participer. ersten Hälfte des 19. Jahrhunderts” (III). Liste des participants et titre . Christian Meyer, “ ‘England Mögte des communications ich sehn...’; Ludwig van Beethovens Présentation et commentaires: Hans Reisepläne” (III). Erich Boedeker (Session I), Christian . Beatrix Borchard, “Reisende Meyer (Session II), Michael Werner Künstlerinnen im 19. Jahrhundert: (Session III), Anselm Gerhard (Session Fanny Hensel - Clara Wieck / Clara IV). Schumann - Pauline Garcia / Pauline Viardot-Garcia” (III). . Michael Heinemann, . Maria Rosa Moretti, “Six jours “Musikerreisen und kultureller d’une tournée européenne de Nicolò Austausch im 17. Jahrhundert. Das Paganini: 25-30 mai 1830 (Kassel- Beispiel Dresden in den 1620er Jahren” (I). Göttingen-Kassel)”. . Herbert Seifert, “Nordwärts . Laure Schnapper, “Die Reisen Henri reisende Gesangsvirtuosen aus Italien Hertzs” (III). und ihr stilistisches Gepäck; im . Heinrich W. Schwab, “Die Seicento: einige Fallstudien” (I). Residenzstadt Kopenhagen als Reiseziel . Andrea Sommer-Matthis, “Politik ausländischer Virtuosen (18./19. und Musikerreisen zu Beginn des 18. Jahrhundert)” (III). Jahrhunderts am Beispiel Giuseppe . Antje Müller, “Felix Mendelssohn Porsiles” (I). Bartholdys Reisen nach Paris” (IV). . Rudolf Angermüller, “ ‘Unter lauter . Hervé Lacombe, “L’Impact du vieher und bestien (was die Musique voyage d’une troupe espagnole à Paris anbelangt)’; Mozarts Pariser Aufenthalt au milieu du XIXe siècle” (IV). 1778” (II). . Manuela Schwartz, “Die Reise nach . Daniel Brandenburg, “Reisende Bayreuth” (IV). Musiker in Neapel im späten 18. . Hans-Joachim Hinrichsen, “Die Jahrhundert: Adalbert Gyrowetz, Organisation der Reisen des Meininger Michael Kelly und Giacomo Gotifredo Orchesters durch die Konzertagentur Ferrari”(II). Wolf” (IV). . Wolfgang Griep, “Abbé Voglers . William Weber, “Concerts Agents in musikalische Reisen” (II). the Career of Pianist Richard Buhlig, . Rudolf Rasch, “Travel and 1905-1916” (IV). Publishing in 18th Century Europe” (II). News — Informations 17

The Project The Baltic Area Baltic” as a concept in musicology, and as a Musical Landscape to instigate research in this field in a broader sense. In the 1950s, Prof. Carl- The diffusion of music, styles, repertories Allan Moberg (Uppsala) had already and ideas in the Baltic countries has long launched the concept of the Baltic area been neglected by musicology. The project as a musical culture (Swedish Journal of presented below, and co-ordinated by Musicology, 39, 1957, pp.15-88). He Professor Greger Andersson, is a valuable primarily referred to the 17th century, complement to the MLE programme. but he also followed the lines of earlier centuries. His approach to the Baltic After a year of preliminary preparation, area takes for granted that 17th-century the project “Östersjöområdet som Sweden established itself as a state of musiklandskap” (The Baltic Area as a great power. Then he listed several Musical Landscape) was launched on 1 towns of musical importance around the January 1991 with the economic support Baltic which were incorporated with of NOS-H (Nordiska samarbetsnämden Sweden. What Moberg regarded as the för humanistisk forskning), a Nordic most important centres of the musical Institute for humanistic research on an culture of the Baltic area were the inter-Nordic level. The project group commercial cities. Such cities were, he includes: Prof. Dr. Greger Andersson thought, especially characterised by the (co-ordinator), University of Lund presence of Stadtmusikanten and of (Sweden); Prof. Dr. Fabian Dahlström, organs in the churches. the Academy of Åbo/Turku (Finland); Museumsinspector Ole Kongsted, Our point of departure had been – Museum of Music History (Copenha- rather than military/political gen, Denmark); and since 1 July 1992 circumstances in the 17th century, which senior researcher Dr. Jens Henrik Moberg emphasised – deeper structural Koudal, Dansk Folkemindesamling patterns, that make it relevant to speak (Copenhagen, Denmark); Prof. Dr. about a uniform musical culture in this Heinrich W. Schwab, University of Kiel area. We hypothetically assumed that (Germany); and Arne Stakkeland, these deeper structures, which created a Agder Musikkonservatorium (Kris- kind of uniformity in the Baltic area, tiansand, Norway). had already been formed during the Hanseatic time, if not earlier, and were The project is in an early phase, and is kept alive and even strengthened in the intended to be a kind of “Stadtmusikant 17th century. Most important was of -project”. Its title, however, indicates a course the Baltic itself, which offered wider scope which could include many numerous possibilities for travelling other subjects in music history. (It is not and for cultural exchanges. In contrast our intention to cover everything by to Moberg’s opinion, our results indicate ourselves: that would be impossible.) that this uniformity continued into the The reason for choosing such a project- following century, that is, long after title is that we wanted to introduce “The Sweden had lost its status as a great 18 News — Informations

power. German influences were Four separate volumes are under dominant regarding the cities and the preparation: system of Stadtmusikanten. To identify (1) An edition of music related to the and describe these patterns of diffusion Stadtmusikantentum. Such an edition and their reasons in accordance with the with relevant commentary is still movements of musician, musical missing. The music has been selected so repertoires, and so on has been one of as to describe and explain this very the main aims of our project. Until now, profession. the latter has resulted in 76 published (2) An edition of documents covering articles and one doctoral thesis (see our the profession of Stadtmusikant. Strong web site: http://www.arthist.lu.se). stress will also be placed on the comments to each document. This will Some of the main results can be sum- be a kind of Stadtmusikanten-history marised as follows: most of the musi- based on documents. cians came from the southern parts of (3) A dictionary of musicians working the area (Germans); however, the import in the Baltic-area towns, which would of musicians gradually decreased during describe where and in what positions the 18th century. They brought with they were active at a certain time, and them a repertory coming essentially from which would also show their movements Germany, but also from other European geographically and socially. countries. Nevertheless one cannot (4) An annotated bibliography covering speak of the Baltic area as a homoge- our research theme. neous one, or as a copy of the German system with respect to the organisation The conditions for such a project have of the Stadtmusikantentum. Regional been quite different from what they were variations arose, for example with close when, for instance, Moberg introduced connections between the cities and the his view on the Baltic area and its countryside. In Sweden (except for the musical history. Indeed, a few months after we had submitted our application old Danish territories at the very south) the map of Europe changed dramatical- and in Finland, it was common that the ly to our advantage. The archives and organist and Stadtmusikant positions libraries in the Baltic states became were held by one and the same person. accessible as never before, and the In Denmark/Norway, the organisation possibilities to initiate a real collabora- was marked by the absolute monarchy: tion with scholars in the Baltic states the king had to confirm every letter of and other states in eastern Europe were appointment. The Stadtmusikanten in dramatically changed. Over the years, Denmark also got privileges on the some fifteen scholars have been invited countryside. The old Danish regions to our conferences and seminars, several (Skånelanden, after 1658 belonging to of whom will also make contributions to Sweden) held an exceptional position, the four above-mentioned volumes. since the fiddlers in the countryside received privileges in the same manner Prof. Greger Andersson as the Stadtmusikanten in the cities. 19

Les Noces de Pélée et de thèmes aussi bien littéraires que Thétis musicologiques ou chorégraphiques (Venise, 1639-Paris, 1654) sans omettre l’histoire politique et le monde du droit et ses rapports avec la Turin-Chambéry, 3-7 novembre danse et le théâtre (Isidore Soffietti). 1999 D’intéressantes relations contemporai- Le colloque international et nes d’ambassadeurs ou de résidents pluridisciplinaire organisé sous la (Jérôme de La Gorce) jointes à des direction de Marie-Thérèse Bouquet- analyses comparées des spectacles de Boyer par l’Institut de Recherches et Venise, Mantoue, Paris et Vienne d’Histoire Musicale des États de Savoie (Herbert Seifert) ont été complétées par (IRHMES) dans le cadre des activités l’étude des caractéristiques et de du Centre d’Études Franco-Italienne l’évolution des spectacles à Milan (CEFI-CNRS) des Universités de Turin (Alessandro Pontremoli), à Munich et de Savoie s’est déroulé à l’Académie (Vesna Mlakar) et la cour de Savoie des Sciences de Turin (3-5 novembre (Margaret M. McGowan, Maria Luisa 1999) et à l’Université de Savoie (6-7 Doglio, Sabrina Saccomani, Francesca novembre 1999) à Chambéry. Varallo, Philippe Morant) sans oublier l’édition anglaise du livret des Noces Opera scenica à Venise, comédie ita- “entre panégyrique et subversion” lienne en musique avec ballet à Paris, (Marie-Claude Canova-Green). Les Noces de Pélée et de Thétis a été choisie pour thème de ce colloque On a pu suivre le rôle des librettistes comme étant l’œuvre la plus représenta- (Pierre Bonniffet, Yves Giraud) et la tive de l’histoire et de l’évolution des place tenue par le pouvoir royal, la spectacles au XVIIe siècle entre l’Italie politique et le roi lui-même dans et la France, entre le mélodrame et le l’élaboration des ballets des Noces et de ballet de cour, miroir de la société La Nuit (Mariette Cuénin-Lieber, humaniste de l’époque. Fruits de quatre Françoise Dartois-Lapeyre). La séminaires annuels, trente-cinq commu- musique n’a évidemment pas été nications ont présenté le résultat des oubliée et les communications de recherches entreprises autour de trois Jérôme de La Gorce, de Charles axes: l’opera scenica de Cavalli, Persiani Whitfield et de Mauro Uberti ont mis et Torelli donnée à Venise au théâtre en lumière le style de Caproli et les San Cassiano en 1639; la comédie problèmes d’interprétation de l’œuvre italienne en musique entremêlée d’un vénitienne de Cavalli. Danseurs et ballet de Caproli, Buti, Benserade et chorégraphes (Irene Alm, Nathalie Torelli représentée à Paris en 1654 et les Lecomte), machines (Sara Mamone) et ballets à la cour de Savoie de la même costumes – ”Paradis des yeux” selon époque. Les chercheurs (Allemagne, l’heureuse expression de Marie- Angleterre, Autriche, États-Unis, Françoise Christout – ont retracé le France, Italie, Suisse) ont abordé des parcours artistique des Noces et delle 20 News — Informations

Nozze et l’on a noté l’importance ERASMUS/TEMPUS, d’éléments baroques tels que l’eau Network in Music and (Gabriella Bosco) ou la grotte (Michele Musicology Mastroianni) présents dans les Noces ainsi que les aspects héraldiques et ERASMUS is a scheme set up by the emblématiques insérés dans les ballets Commission of the European Communities to promote the mobility of de la cour de Savoie (Luisa Clotilde students and staff between institutions Gentile). of higher education (largely, but not Signalons enfin les études de Francesca exclusively, universities) within the Gualandri et Gloria Giordano plus countries of the EEC and other countries particulièrement consacrées à la in western Europe. It is, so far, subject- représentation de l’opera scenica de based, so that our particular network is Venise et à la signification de la ges- one involving departments of music and tuelle alors que Mimi Grassi proposait musicology. TEMPUS is an analogous un projet de mise en scène en vue d’une scheme, which in our case has been éventuelle reprise moderne – tra promoting similar mobility between departments of musicology in attualità e adesione storica – de cette universities in the Czech Republic, œuvre. Poland, Slovenia and western European La publication des Actes est prévue dans universities. Funds are made available le courant de l’automne 2000 et le from Brussels each year to support programme de recherches doit activities connected with these schemes, continuer afin de préparer l’édition and students and staff who wish to anastatique des documents du XVIIe spend time at a partner institution in siècle parvenus jusqu’à nous. another European country may be able to claim part, and in some cases all, of Un très beau concert autour des Noces de their travel and maintenance expenses Thétis et de Pélée fut donné à la Sainte- through the scheme. Chapelle du château ducal de Chambéry The funding for ERASMUS and par Celia Bocquet et Patricia Gonzalez TEMPUS mobility, like other (sopranos), Charles Whitfield (baryton), initiatives, is approved in the first place Alex de Valera (luths), Philippe Ramin by committees in Brussels, but from that (clavecin) et Elisabeth Matiffa (basse de point on, most of the administration is viole). decentralised. ERASMUS student grants for travel and accommodation are Prof. Marie-Thérèse Bouquet- administered through the national Boyer ERASMUS offices in each country, and other administrative matters are dealt with within local universities; TEMPUS grants are administered by the network co-ordinator. Both schemes encourage individual university departments in 21

different countries to make contact with assessment of study undertaken abroad. each other and to submit group All the participating universities have applications for co-operation schemes, agreed to this system, and it will be which may (but need not necessarily) be monitored as it progresses. restricted to individual subject areas. Most universities within the networks Such groups of departments, if their have agreed to make language tuition applications are approved by Brussels, available to home and visiting students, form so-called ICPs (Inter-University both before and during their visits Co-Operation Programmes) in abroad. It is very important that ERASMUS, and JEPs (Joint European students should be adequately prepared Projects) in TEMPUS; their students in the language of the host country, are given priority for mobility over where this is not their own language. independent free movers. The ERASMUS grant money is given partly university departments listed in our with this need in mind, and it is hoped handbook represent an ERASMUS ICP that there will still be sufficient resources and a TEMPUS JEP which are the for students who require tuition. result of just such group applications. Students are thus helped to move to Web site: http://www2.rhbnc.ac.uk/ other universities within the network for Music/Erasmus/ part of their course, and receive some financial support, subject to their being Calendar of events 2000 / Calendrier 2000 recommended by their home department and being accepted by the host department. 31 March-2 April Lisbonne ‘Opera Orchestras: Status of the Research Mobility of this sort is allowed only and Preparation of the after the first-year, or in some First Volume of the universities the second-year, stage of Planned Publications’ undergraduate study at the earliest. (group 2) Another condition is that any study 11-12 May Strasbourg Workshop (group 5) abroad under the scheme shall receive academic credit at the home university 19-20 May Heidelberg Workshop (group 1). To be confirmed. after the student’s return, and shall count towards the final home degree. 16-17 June Milano ‘The Circulation of Our own ICP and JEP have no Music’ (group 4) universally agreed credit transfer 22-24 September Vienna ‘The Idea of Italianità’ scheme, at least as yet; for the system to (group 1) work efficiently, therefore, it is 5-7 October Zurich Workshop (group 3) necessary for all visiting students in this scheme to be supervised by a director of 30 Nov.-1st Dec. Mainz Workshop (group 5) studies at home and an adviser at the 2 December Mainz Steering Commitee host institution, and for these staff Les informations concernant ces activités sont mises à members to agree, together with the jour sur le site web du programme: student concerned, on the content and http://www.esf.org/mle 22

Reviews – Comptes operas and genres, as well as the rendus relationship to the sacred complement of opera, the oratorio. New light is shed Il teatro musicale italiano nel Sacro on the development of opera in the Romano Impero nei secoli XVIIe XVIII. “Holy Roman Empire” and in adjacent Atti del VII Convegno internazionale regions like Poland and present-day sulla musica italiana nei secoli XVII- Slovenia. Some of the major XVIII, Loveno di Menaggio (Como), 15- protagonists of Italian opera in northern 17 luglio 1997, a cura di A. Colzani, N. Europe, composers and librettists such Dubowy, A. Luppi, M. Padoan, Como as Cesti, Sartorio, Giovanni Bononcini, 1999. Paisiello, and Salieri on the one hand, Moniglia, Pariati, Coltellini and This conference report gathers the Calzabigi on the other – to name but a papers read at the seventh biennial few – are particularly concerned. conference organised by Antiquae Besides the value of the results with Musicae Italicae Studiosi (A.M.I.S.- regard to single composers, these Como). This association of musicologists, proceedings can be seen as an important living in and around Como, is primarily step towards a better understanding of active as a promoter of musicological the complex phenomenon of Italian research into the history of Baroque opera in the context of European music in Northern Italy, but it has also culture. tried successfully to broaden the fields of research both in a chronological and a Contributions include: geographic sense. Indeed, the conference Norbert Dubowy, Überlegungen zum had two forerunners dedicated to “Il . Thema der Tagung. melodramma italiano in Italia e in Dorothea Schröder, “Bringt ihr Germania nell’età barocca” and . zugleich den Höllenrachen mit” - Zur “Relazioni musicali tra Italia e Geschichte eines Szenentyps vom späten Germania nell’età barocca” respectively. Mittelalter bis zu Goethes Faust II. All of these were held at the Centro Vassilis Vavoulis, An Approach to the italo-tedesco of Villa Vigoni, Loveno di . Expressive Content of Late Seventeenth Menaggio (Lake Como). Century Arias: Antonio Sartorio’s Giulio The theme of these conferences is close Cesare in Egitto (1677). to the programme of group 1 (“Italian . Reinmar Emans, Antonio Sartorio’s Opera in Central Europe”) of the ESF Orfeo-Versuch einer Quellenbewertung. project Musical Life in Europe; it is no . Herbert Seifert, Antonio Cesti in surprise therefore that several members Innsbruck und Wien. of the group are among the contributors. . Piero Gargiulo, Con “regole, affetti, The papers cover a wide range of pensieri”. I libretti di Moniglia per subjects and methodological l’opera italiana dell “imperial teatro” approaches, from source studies and (1667-1696). stage design to the study of single 23

. Michael Talbot, Francesco Conti’s . Carolina Baldi, Marco Coltellini, setting of Pietro Pariati’s Pimpinone. librettista toscano a Vienna. . Peter Wollny, Über die Beziehungen . Rosy Candiani, Amiti e Ontario di zwischen Oper und Oratorium in Ranieri de’ Calzabigi: Il mito del buon Hamburg im späten 17. und frühen 18. selvaggio nella Vienna absburgica. Jahrhundert. Norbert Dubowy . Andrea Luppi, Steffani e Leibniz ad Hannover. L’universo e la sua armonia “musicale”. De consortiis musicis et musicorum . Harry White, “Et in Arcadia ego”: musicaeque in Bohemia Moraviaque Fux and the Viennese sepolcro oratorio. circulatione 1600-1900 - Fontium . Elena Biggi Parodi, Un sostituto litterarumque status. Olomouc, 1998 in all’opera. L’oratorio La passione di Gesù Acta Universitatis palackianae Cristo di Antonio Salieri, Vienna 1776. olomucensis. Facultas philosophica. . Metoda Kokole, Italian Operas in Philosophica-aesthetica, 17; Ljubljana in the Seventeenth and Musicologica Olomucensia, IV, 225 p. Eighteenth Centuries. [Textes en allemand et anglais. . Alina Zórawska-Witkowska, Il teatro Résumés trilingues] musicale italiano a Varsavia al tempo di Augusto II il Forte (1697-1733). Un Ce volume réunit les actes d’un colloque tentativo di ricostruzione del repertorio. international organisé les 21-23 . John Whenham, Giovanni Felice novembre 1997 à l’initiative de Jan Vic˘ar Sances, the Emperor Leopold I and two au département de Musicologie de Operas for the Viennese Court. l’Université d’Olomouc avec le soutien . Robert Kendrick, La Sofonisba by du Conseil tchèque de la musique et de Maria Teresa Agnesi: Composition and l’Académie des sciences de la Female Heroism between Milan and République tchèque. Les participants à Vienna. ce colloque avaient été invités à aborder, . Lowell Lindgren, Vienna, the à l’échelle de la Bohème et de la “natural centro” for Giovanni Bononcini. Moravie, le problème des échanges . Reinhard Strohm, North Italian musicaux entre ces régions et le reste de Operisti in the Light of New Musical l’Europe, mettant ainsi à l’épreuve la Sources. problématique qui s’était dégagée lors . Francesco Degrada, Il re Teodoro in des ateliers exploratoires du programme Venezia: un apologo politico nella Vienna MLE (Strasbourg, 1994 et Mayence, di Mozart. 1996). Parmi les vingt-cinq . Sergio Martinotti, Italiani e communications réunies dans ce italianisti a Vienna da Bonno a Salieri. volume, on retiendra en particulier, . Francesco Paolo Russo, Le gare pour les perspectives développées dans generose e Il mondo della luna di le Programme MLE, les contributions Paisiello (1786): due esempi della ricenzione d’Alena Jakubcová, “From Prague to the dell’opera buffa italiana a Vienna. Northern Empire Border. Ways of 24 Reviews – Comptes rendus

Theatre Directors and their Repertoire contemporains ont pu porter sur ce in the Second Half of the 18th Century” genre. (pp. 155-158), de Jarmila Gabrielová, “Music and Musicians between Prague R. Grotjahn s’interroge tout d’abord sur and Copenhagen in the 18th and 19th les fondements institutionnels du genre Centuries” (pp. 147-152), de Jan en étudiant les incidences des conditions Hrodek, “On the Beginnings of the sociales, institutionnelles et économiques Prague Conservatoire” (pp. 85-88), de du concert public: formes et institutions Martin Voris˘ek, “Nationalism and du “grand concert” jusqu’en 1850, Chauvinisme in Reflexions on the Work mutations de la vie de concert après of Richard Wagner in Prague Music 1850 (le type “Gewandhaus” comme Criticism before 1885” (pp. 97-99), de modèle dominant, mais aussi les Boz˘ena Felgrova, “Arrangements of orchestres itinérants), mutations enfin Mozart Operas for Woodwind du métier du musicien. Pour mieux Ensembles in our Country in the 18th cerner la signification de la symphonie and 19th Centuries” (pp. 203-204) ou dans le cadre institutionnel du concert, encore de Michaela Freemanová, l’auteur a étudié les programmes et ‘Provincia Germanica’ of the Order of l’évolution des répertoires (analyses Brothers Hospitallers as a Musical quantitatives du répertoire; typologie Institution and as a Centre of des programmations...). R. Grotjahn Circulation of Music and Musicians in s’interroge notamment sur le rapport de the Czech Lands and Central Europe in la symphonie de cette période avec les 18th and 19th Centuries” (pp. 107-109). œuvres classiques, partant du constat d’un vieillissement du répertoire. Christian Meyer L’auteur consacre enfin un long chapitre à une lecture critique des écrits philosophico-esthétiques ou techniques (expertises), mais aussi de la presse Rebecca Grotjahn, Die Sinfonie im musicale, visant ainsi à dégager les deutschen Kulturgebiet 1850 bis 1875. catégories esthétiques de la perception Ein Beitrag zur Gattungs- und du genre dans la conscience du public Institutionengeschichte, Sinzig, Studio, de l’époque. Deux index complètent cet 1998, 392 p. (Musik und Musikanschauung ouvrage: répertoire des nouveautés im 19. Jahrhundert, 7). symphoniques (pp. 289-319) et index Le genre de la symphonie aurait-il des concerts publics (pp. 323-365). connu, au cours des années 1850-1875, une sorte de “passage à vide”? L’auteur Christian Meyer renouvelle ici la question, partant d’un concept élargi de la musique symphonique, intégrant à la fois la fonction de cette musique dans la vie musicale de l’époque et les jugements esthétiques et normatifs que les Steering Committee 25

Prof. C.H. Mahling * Prof. Derek Beales * Dr. Katalin Komlós (Co-Chairman) Sidney Sussex College Liszt Ferenc Academy of Johannes Gutenberg University of Cambridge Music Universität - FB 16 Cambridge CB2 3HU Pf.206 Geschichtswissenschaft United Kingdom 1391 Budapest Musikwissenschaftliches Tel: +44 1223 33 88 33 Hungary Institut Fax: +44 1223 33 88 84 Tel: +361 3414788 Postfach 3980 Fax: +361 3214097 55099 Mainz Prof. Lorenzo Bianconi Germany University of Bologna Prof. Jens Henrik Koudal Tel: +49 6131392259 Department of Music Dansk Folkemindesamling Fax: +49 6131392993 Via Galliera 3 Christians Brygge 3 E-mail: mahling@muwiinfa. 40121 Bologna 1219 København K geschichte.uni-mainz.de Italy Denmark Fax: +39 51 23 11 83 Tel: +45 3313 5802 Dr. Christian Meyer (ext. 9811) (Co-Chairman) * Prof. Dámaso Garcia Fax: +45 3313 5804 3, rue des Bouvreuils Fraile E-mail: [email protected] 67100 Strasbourg Universidad de Salamanca France Calle Cervantes s/n Prof. Jan Ling Tel/Fax: 37008 Salamanca Göteborgs Universitet +33 (0)3 88 44 25 88 Spain Vasaparken E-mail: Tel: +34 923 294512 41124 Göteborg [email protected] Fax: +34 923 217844 Sweden E-mail: [email protected] Tel: +46 46 222 0000 Prof. Eugene K. Wolf Fax: +46 46 222 4215 (Co-Chairman) * Prof. Anselm Gerhard University of Universität Bern * Prof. Pierluigi Petrobelli Pennsylvania Institut für Istituto Nazionale di Studi Department of Music Musikwissenschaft Verdiani 201 South 34th Street Hallerstrasse 5 Strada della Repubblica 56 Philadelphia 3012 Bern 43100 Parma PA 19104-6313 Switzerland Italy United States Tel: +41 31 631 83 94 Tel: +39 6 575 0433 Tel: +1 610 896 6078 Fax: +41 31 631 34 59 Fax: +1 610 896 3647 Prof. Matti Vainio E-mail: University of Jyväskylä (24 hours) [email protected] E-mail: [email protected] PO Box 35 Prof. Gernot Gruber 40351 Jyväskylä * Prof. Greger Universität Wien Finland Andersson Institut für Tel: +358 14 601 332 Lunds Universitet Musikwissenschaft Fax: +358 14 601 331 E-mail: [email protected] Inst. för konst- och Garnisongasse 13 musikvetenskap 1010 Wien Prof. Henri Vanhulst Box 117 Austria Université Libre de 221 00 Lund Tel: +43 1 4277 41602 Bruxelles Sweden Fax: +43 1 4277 9416 HAA Musicologie Tel: +46 46 222 8509 E-mail: (CP 175/01) Fax: +46 46 222 4215 [email protected] E-mail: 50, avenue Roosevelt [email protected] 1050 Brussels Belgium Tel: +32 2 650 2485 Fax: +32 2 650 2450 * Core Group members 26 Team Leaders

Group 1: Group 3: Group 5:

Dr. Norbert Dubowy Dr. Hans Erich Bödeker Dr. Michael Fend Musikwissenschaftliches Max-Planck-Institut für King’s College Seminar der Universität Geschichte Department of Music Heidelberg Hermann-Föge-Weg 11 Strand Augustinergasse 7 37073 Göttingen London WC2R 2LS 69117 Heidelberg Germany United Kingdom Germany Tel: +49 551 49 56 41 Tel: +44 171 873 2634 Tel: +49 6221 54 27 82 Fax: +49 551 49 56 70 Fax: +44 171 873 2326 Fax: +49 6221 54 27 87 E-mail: E-mail: E-mail: norbert.dubowy@urz. [email protected] [email protected] uni-heidelberg.de Dr. Patrice Veit Dr. Michel Noiray Prof. Herbert Seifert CNRS, Mission 9, rue Pérignon Universität Wien Historique Française en 75015 Paris Institut für Allemagne France Musikwissenschaft Hermann-Föge-Weg 12 Tel/Fax: +33 1 40 65 07 22 Garnisongasse 13 37073 Göttingen E-mail: [email protected] 1010 Wien Germany Austria Tel: +49 55155213 Tel: +43 1 4277 41601 Fax: +49 55146455 Dr. Antonio Lamarra Fax: +43 1 4277 9416 E-mail: [email protected] ESF Senior Scientific E-mail: Secretary [email protected] Prof. Michael Werner CNRS/EHESS Mrs. Carole Mabrouk 54, bd. Raspail ESF Administrative Assistant Group 2: 75006 Paris European Science France Foundation Prof. Niels Martin Tel: +33 (0)1 49 54 25 67 1 quai Lezay-Marnésia Jensen Fax: +33 (0)1 46 42 26 37 67080 Strasbourg cedex University of E-mail: [email protected] France Copenhagen Tel: +33 (0)3 88 76 71 26 Department of Music Fax: +33 (0)3 88 37 05 32 Klerkegade 2 Group 4: E-mail: [email protected] 1308 København K http://www.esf.org Denmark Dr. Anik Devriès-Lesure Tel: +45 35 32 37 62 66, rue d’Assas Fax: +45 35 32 37 38 75006 Paris E-mail: [email protected] France Tel: +33 (0)1 45 48 91 27 Prof. Franco Piperno Università de Firenze Dr. Rudolf Rasch Dipartimento di Storia Department of delle Arti e dello Spettacolo Musicology Via della Pergola, 48 Kromme Nieuwegracht 29 50121 Firenze 3512 HD Utrecht Italy The Netherlands Tel: +39 55 24 02 94 Tel: +31 30 25 36 289 Fax: +39 55 24 78 948 Fax: +31 30 25 36 167 Tel/ Fax (home): E-mail: [email protected] +39 6 854 1939 E-mail: [email protected] 27

ESF Programme Musical Life in Europe 1600-1900 (1998-2001) Travel grants The ESF programme Musical Life in Europe 1600- All applications must be supported by a letter of 1900 aims at studying the processes of production, recommendation from someone familiar with the distribution, communication (mediation) and candidate’s work and, if relevant, a letter of acceptance reception of musical works as well as of their forms from the collaborator/supervisor at the receiving institute. Applications will be assessed on the scientific quality of transmission and circulation. The programme of the project, the applicant’s list of publications, and will run for four years (1998-2001) and is currently the letters of support. It is not necessary to submit an supported by research councils and academies of extensive curriculum vitae. science in Austria, Belgium, Denmark, Finland, France, Germany, Hungary, Italy, Netherlands, Administrative procedure Norway, Portugal, Poland, Spain, Sweden, Switzerland and the United Kingdom. As part of Travel grants are available for visits from a few days to one month in duration. Actual costs of travel (on the basis the programme’s activities, travel grants are being of APEX fares) and accommodation will be covered and a offered to enable young scholars, both pre-doctoral daily allowance (FF 200 / m 30.98) will be paid within and post-doctoral, working in the field of the maximum limits of the grant (FF 10 000 / m 1524.50). musicology to travel to a programme workshop, to Applicants are requested to provide an estimated visit research centres which cooperate in the budget for their visit, on which the amount of their grant programme or for short visits to libraries and will be based. archives in order to consult documents for a period An advance payment of 75% of the total amount of up to four weeks. The applicant's aims must be granted will be made upon written request shortly before strictly related to the activities of the programme the visit takes place. The final payment in either case teams. For further information on these activities, will be made after reception at the ESF Secretariat of a please consult the programme’s home page (http:/ short report from the grantee on completion of his/her visit. Original used tickets for travel and receipts for /www.esf.org). accommodation must also be forwarded to the ESF Secretariat when claiming the final payment. Conditions of eligibility The first deadline for applications is 20 March To be considered for a travel grant a candidate has to: 2000 for visits to begin after 1 May 2000. . undertake work applicable to the programme; The second deadline for applications is 30 June 2000 for visits to begin after apply for a stay in a European country other than the . 1 September 2000. country of origin (if the application is related to Teams 1, 3 and 4); Application forms can be downloaded from the ESF web site at http://www.esf.org/mle or obtained from the ESF . return to the institute of origin upon termination, so Humanities Secretariat on request. that the applicant’s institute may also benefit from her/ his broadened knowledge. Completed applications should be returned to: Preference will be given to graduate students and young Antonio Lamarra scholars at the beginning of their careers. Priority will European Science Foundation be given to applications in which the applicant’s 1 quai Lezay Marnésia institution and/or the receiving institution or the 67080 Strasbourg cedex workshop to be attended are located in a country France participating in the programme. Fax:+33 (0)3 88 37 05 32 E-mail: [email protected]