TheThe NewsletterNewsletter ofof the the SocietySociety for for Seventeenth-Century Seventeenth-Century Music Music Vol. Vol. 26, 23, No. No. 2, 2,Spring Spring 2017 2014 President’s Message

already happened or is about to happen. I must add that in my forthcoming retire- ment I look forward with much hope and confidence to the future of our Society. As often in the past, a group of dedicated and eminently capable people have emerged to take over its leadership, and I wish my suc- cessor, her colleagues on the new Govern- ing Board, and all the other people who give so much to our unique organization, my best wishes for the coming years. May they bring beauty, light, and comfort to “these distracted Tymes”! I’d like to close by playing for you a For these distracted Tymes—A sad paven happy galliard which Tomkins penned into Thomas Tomkins, 14 February 1649 his manuscript some pages later, even if you won’t be able to hear me except in your imagination: No. 50 (p. 111) of the n 14 February 1649, the seventy- He responded with a heart-wrenching 1955 Musica Britannica edition of his key- seven-year-old Thomas Tomkins dance of sorrow. board works. entered his Sad paven in the man- In our own distracted times, there no Lex Silbiger O 17 January 2017 uscript book in which during his last years doubt are moments when we wonder why he had been copying his new keyboard we pour so much of our energy into some- compositions (Paris, Bibliothèque na- thing as inconsequential to the current state tionale, Rés. 1122). The work’s title is usu- of the world as seventeenth-century music. ally connected to the beheading of Charles But let’s keep in mind that for most of I on 30 January 1649. That event probably us—as it was for Tomkins—music is what had not taken place a mere couple of we are about. It’s what we prepared for weeks earlier, as would seem from the over many years, and what (usually) we do In This Issue . . . dates (and as is suggested in most program well. It may be our most powerful means News of the Society notes), but rather during the previous year; to insert beauty and light into the darkness Tomkins likely was using “old style” dat- that threatens to envelop us—our way of President’s Message 1 ing, in which the new year did not start un- bringing a little comfort and joy to those George Houle: From Arsis to Thesis 2 til 25 March. The regicide—which, at least around us. WLSCM New Publications 2 for the time being, terminated the ancient It might be interesting for this newsletter SSCM Business Meeting 3 monarchy—undoubtedly came as a shock to feature a series of contributions by mem- SSCM 2017 Providence: Program 4 even to those who were not unqualified ad- bers on how they got into seventeenth- mirers of the king; for many Englishmen century music and why they have stayed Financial Report for 2016 6 it must have caused much distress and un- with it so long, when there are many more Artis musicae periti 7 certainty. As a musician, Tomkins had no fashionable (or more profitable) areas they JSCM New Issue 8 power to affect the unsettling course of could have moved to. Perhaps I shall set an Donors in 2016 8 events. Instead, he called upon the one example and offer such a contribution after power he did possess and which was cen- I retire from the SSCM presidency— tral to his existence: the power of music. which, by the time you read this, may have 

Vol. 26, No. 2, 17th-Century Music  1 Seventeenth-Century Music is the semi-annual George Houle: From Arsis to Thesis newsletter of the Society for Seventeenth- Century Music. In addition to news of the Stanford University Emeritus Professor Society, its members, and conferences, the of Music George Houle passed away on Newsletter reports on related conferences, 7 January 2017. A pioneer of the early musical performances, research resources, and music movement in America, Houle was grant opportunities. Please send inquiries or teacher and mentor to many of today’s material for consideration to the editor: leading performers and scholars of early music. Though he began his professional Esther Criscuola de Laix career as a studio oboist in southern Cali- A-R Editions fornia, at Stanford in the 1950s Houle fell 1600 Aspen Commons, Suite 100 under the spell of Putnam Aldrich and his Middleton, WI 53562 ideas on early music performance. After Phone: (608) 203-2567 earning a Ph.D. in musicology at Stanford, Fax: (608) 831-8200 he taught at Mills College, the University [email protected] of Minnesota, and the University of Col- Please note that information for the next issue orado before returning to Stanford to teach. must be submitted by 20 August 2017. From 1972–74 he directed the New York ISSN: 1054-6022 Pro Musica while on leave from Stanford. Houle’s overriding passion was the in- his later years he became an aficionado of Layout and Design tegration of performance and scholarship. the viola da gamba—an interest he pur- Donna Gorman and Ann Peter He guided many students through the sued along with his wife, Glenna, who sur- The Society for Seventeenth-Century Music is Ph.D. in musicology at Stanford, but he is vives him. Among Houle’s many publica- a learned society dedicated to the study and perhaps best remembered for his leader- tions, perhaps the most prominent are performance of music of the ship of the graduate program in the per- Meter in Music, 1600–1800 (Indiana Uni- seventeenth century. formance practices of early music. Many versity Press, 1987) and La Ballet de of his former students recall in particular Fâcheux: Music for Molière’s Comedy Governing Board (2015–2017) his emphasis on the study and performance (Indiana University Press, 1991). Alexander Silbiger, president of early dance. While his interests quite Duke University naturally led him to the Baroque oboe, in Stewart Carter [email protected] Wendy Heller, vice president Princeton University [email protected] Web Library Announces New Publications Maria Anne Purciello, treasurer University of Delaware The Web Library of Seventeenth- of the text by Giovanni Lorenzo Lulier [email protected] Century Music (ISSN 2330-2429) is (1662–1700), Giacomo Perti (1661–1756), Rebecca Cypess, secretary pleased to announce several new and forth- and Carlo Pollaroli (ca. 1653–1723), ed- coming editions in its open-access collec- ited by Rosalind Halton. tion of peer-reviewed scores. [email protected] Call for Submissions Monuments of Seventeenth-Century Gregory S. Johnston, chair, American Hein- The Web Library of Seventeenth- Music Volume 2: Italian Instrumental rich Schütz Society Century Music invites proposals for edi- Music continues to grow with eight University of Toronto tions of music to join the growing collec- sonatas by Innocentio Vivarino (ca. 1575– [email protected] tion available online. Editions are peer- 1626) and five canzoni by Serafino Patta. reviewed and made freely available online Arne Spohr, member-at-large Guided by Niels Martin Jensen, the anthol- for performers and scholars. Music must Bowling Green State University ogy brings together the editorial expertise have been composed between 1600 and [email protected] of scholars from around the globe to create 1700, and must not already be available in an unrivaled collection of small-scale Honorary Members a commercial edition or have been posted instrumental music that spans the entire Stephen Bonta online. Proposals for individual pieces, seventeenth century. Composers will Bruce Gustafson large or small, and even collections of include Giulio Belli, Salamone Rossi, Bia - Barbara Russano Hanning works are invited. Editions are peer- gio Marini, Giovanni Battista Fontana, Jeffrey Kurtzman reviewed on a continual basis, and submis- and many, many others. Valuable perfor - Alfred Mann† sions are welcome at any time. Further de- mance suggestions are provided by Jeffrey Carol G. Marsh tails about submissions may be found at Kurtzman. Margaret Murata http://www.sscm-wlscm.org or by writing WLSCM no. 31 will bring together Anne Schnoebelen to [email protected]. seven settings of Francesco Maria Paglia’s Alexander Silbiger Janette Tilley Kerala Snyder cantata text A voi che l’accendeste. The collection launches now with three settings 2  Vol. 26, No. 2, 17th-Century Music Society for Seventeenth-Century Music Informal Business Meeting 4 November 2016, Vancouver, BC

Reports work together at A-R Editions, the transition should be very smooth. President’s Report President Alexander Silbiger called the meeting to order at 12:25 Report on the SSCM Archive p.m. and welcomed all those in attendance. He noted progress in Board Member at Large Arne Spohr presented an update on the a number of areas, including production of delayed issues of the SSCM Archive. The purpose of the archive is to ensure institu- Journal of Seventeenth-Cenutry Music and plans for the society’s tional memory within the Governing Board (to ensure continuity upcoming meeting in Providence, Rhode Island, in 2017. and consistency in decision making) and within the society as a whole. All available minutes of past meetings of the Governing Vice President’s Report Board have now been archived, though minutes from a handful of Vice President Wendy Heller had nothing to report. President meetings are missing. Spohr has been working most recently on Alexander Silbiger thanked Wendy Heller for her leadership of the assembling an online photo archive, which will be made accessible Travel Grant committee. to the membership. Secretary’s Report Report on Local Arrangements 2017 Secretary Rebecca Cypess reminded attendees to renew their Cathy Gordon, chair of local arrangements for the upcoming meet- membership at the end of the calendar year. Membership dues and ing in Providence, invited the membership to attend the meeting, donations are essential in enabling the society to operate normally. presenting a number of compelling reasons to do so. She discussed President Silbiger underscored the need for contributions to offset plans for lodging, meals, concerts, and collaborations with other the costs of issues of JSCM and volumes of WLSCM. universities and institutions nearby. Tim Carter, chair of the Pro- Treasurer’s Report gram Committee, announced that the committee’s work is complete Treasurer Maria Purciello presented a provisional budget for the and letters of acceptance would be going out in the near future. current year, pending the final numbers in dues and donations. She encouraged everyone who had made a donation to the society to Irene Alm Memorial Prize ensure that they had received documentation for tax purposes, and President Alexander Silbiger recognized Tom Marks, recipient of to contact her if that documentation was missing. the 2016 Irene Alm Memorial Prize, in absentia.

American Heinrich Schütz Society Representative Report Future Conference AHSS representative Gregory Johnston noted a change in leader- The 2018 meeting will take place in Boulder, Colorado on ship at the International Heinrich Schütz Society. In addition, he 19–22 April. President Alexander Silbiger asked that members announced that because of fluctuations in exchange rates, dues for consider volunteering to host subsequent meetings at their home the AHSS will be going down for the coming year. institutions. Report on the Journal of Seventeenth-Century Music Editor Lois Rosow announced that delayed issues of the journal New Business would be forthcoming very soon. In addition, she has been work- President Silbiger noted that, due to complications with dues and ing with Chris Borgmeyer of Crooked River Designs to update coordination of mailings, institutional memberships in the Amer- past issues of the journal, as some of the HTML code and links ican Heinrich Schütz Society will henceforth not be available. In- had become outdated or were not working. She encouraged the stitutions wishing to join the society may do so through the IHSS. membership to submit its work to the journal. President Silbiger Institutional memberships in SSCM will still be available. thanked outgoing editor Kelley Harness for seeing issues under President Silbiger noted that he is currently reviewing the her supervision through to publication and Lois Rosow for assum- SSCM by-laws, which are in need of updating. Further announce- ing leadership. ments on this topic will be made in future meetings. Kimberlyn Montford asked if changes to the by-laws will be archived; Lois Report on the Web Library of Seventeenth-Century Music Rosow noted in response that such changes are reflected in the Editor-in-Chief Janette Tilley discussed forthcoming editions, minutes of meetings. which include seven cantatas on a single text by Roman poet Margaret Murata asked if all issues of 17th-Century Music are Francesco Maria Paglia (WLSCM 31); the first two of these seven available online. President Alexander Silbiger responded that are nearly done. Volume 2 of the Monuments series is also expand- they are, with the most recent newsletters accessible only to the ing, with five pieces by Serafino Patta and four out of a planned membership. eight by Innocentio Vivarino. Tilley also reported on plans to in- President Alexander Silbiger introduced Chris Borgmeyer, who tegrate WLSCM with library catalogues. was attending an SSCM business meeting for the first time. Chris Report on the Newsletter Borgmeyer thanked the membership for working with him and President Silbiger announced that Alexander Dean is completing asked for their patience as he works on cleaning up certain aspects his term as editor of 17th-Century Music, and he thanked Dean for of the web site and the journal that require updating. his service. Alexander Dean announced that Esther Criscuola de Laix will be assuming the position of editor. Because she and Dean continued on page 4 Vol. 26, No. 2, 17th-Century Music  3 Society for Seventeenth-Century Music: Twenty-Fifth Annual Conference April 20–23, 2017 Biltmore Hotel, 11 Dorrance Street, Providence, RI 02903

All sessions will be held in the Garden Room of the Biltmore Hotel (2nd floor), which will also be the site of the book exhibit. The reg- istration desk will be located on the balcony just outside the Garden Room, where coffee and pastries will also be available Friday– Sunday mornings, and likewise coffee, etc., during the breaks.

Thursday, April 20 1:00–5:30 pm Registration 1:00–3:30 pm Meeting of the SSCM Governing Board (Directors Room, Biltmore Hotel) 3:30–5:00 pm Meeting of the WLSCM Editorial Board (Directors Room, Biltmore Hotel) 5:00–6:00 pm Opening Reception (L’Apogee 18, Biltmore Hotel) 6:00–7:00 pm Dinner (on your own) 7:30 pm Cappella Artemisia: Invincible! 17th-century Nuns Sing of Virgins and Martyrs. Lady Chapel, S. Stephen’s Episcopal Church, 114 George St., Providence, RI 02906

Friday, April 21 8:00 am–12:00 pm Registration 8:30 am–5:30 pm Book exhibit 8:30–9:00 am Coffee and pastries 9:00–10:20 am Print Cultures Jane A. Bernstein (Tufts University): “Spectacular Matters and Print Culture: Cavalieri’s Rappresentatione di Anima, et di Corpo” Leon Chisholm (Deutsches Museum, Munich): “The Sacred Concerto as Trading Zone” 10:20–10:40 am Break 10:40 am–12:00 pm Naomi J. Barker (Open University, U.K.): “Frescobaldi’s Primo libro d’arie musicali: The Printed Book as Multimedia Experience?” Lois Rosow (Ohio State University): “ ‘Publics dans leur perfection’: Lully’s Intentions in Publishing His Operas” 12:00–2:00 pm Lunch and SSCM Business Meeting (L’Apogee 18, Biltmore Hotel) 2:00–3:20 pm Perception and Representation Derek Remesˇ (Eastman School of Music): “Musical Rhetoric in Sweelinck’s Chromatic Fantasia” Jordan Hall (New York University): “ ‘To Work Mine End Upon Their Senses’: Musical Listening and Bodily Subjection in The Tempest” 3:20–3:40 pm Break 3:40–5:00 pm Mark Rodgers (Yale University): “Replicating the Romanesca” Roseen Giles (Colby College): “Of Letters and Laments: The stile rappresentativo On and Off the Stage” 5:00–7:00 pm Dinner (on your own) 7:15 pm Bus leaves for Providence College 8:00 pm Andreas Scholl: Desiring Beauty, with Victor Coelho (lute), David Dolata (theorbo), and Laura Jeppesen (viola da gamba). Ryan Concert Hall, Smith Center for the Arts, Providence College, Providence, RI 02918 10:15 pm Bus returns to Biltmore Hotel continued on next page

Society for Seventeenth-Century Music Business Meeting continued . . .

continued from page 3 Rebecca Harris-Warrick informed attendees that the Questions were raised about the indexing of WLSCM on Early Music Festival will be staging André Campra’s Carnaval de EBSCO search databases. President Silbiger responded that Venise at the upcoming summer festival. She encourages the mem- Editor-in-Chief Tilley is working on this, and on how WLSCM bership to attend. and JSCM Instrumenta are represented in library catalogues. The meeting was adjourned at 1:17 p.m. President Silbiger announced that Rebecca Harris-Warrick will Respectfully sumbitted, be assuming leadership of the Grove committee. He thanked Rebecca Cypess Amanda Eubanks Winkler for her leadership of the committee, SSCM Secretary noting that she will continue to serve on the committee.

4  Vol. 26, No. 2, 17th-Century Music continued from previous page Saturday, April 22 8:30 am–6:00 pm Book exhibit 8:30–9:00 am Coffee and pastries 9:00–10:20 am Local Power Derek Stauff (Hillsdale College): “Monteverdi and Scacchi in Breslau: Madrigal Contrafacta as Religious and Political Polemic” JoAnn Udovich (Fairfield, PA): “Rites of Passage and the Exercise of Catholic Sovereignty: Contextualizing Biber’s ‘Mystery Sonatas’ ” 10:20–10:40 am Break 10:40 am–12:00 pm Joseph Arthur Mann (The Catholic University of America): “ ‘What built a World, may sure repair a State’: Royalist Propaganda Music in the English Interregnum” Natasha Roule (Harvard University): “Who’s Judging Whom? Civic Identity, Royal Praise, and a Newly Found Libretto from the Académie de Musique of Marseille” 12:00–2:00 pm Lunch (on your own) 12:15–1:45 pm Meeting of the JSCM Editorial Board (Directors Room, Biltmore Hotel) 2:00–3:00 pm Performative Gestures David Schulenberg (Wagner College and The Juilliard School): “Expression and Discrétion: Froberger and the Invention of a New Keyboard Style” (Lecture-recital) 3:00–3:20 pm Break 3:20–5:30 pm Christoph Riedo (Harvard University): “The (Un)published Secret: Improvisation and the ‘Highest Degree of Excellency’ in Baroque Violin Playing” Andrew Lawrence-King (Guernsey, U.K.): “Redefining Recitative” Christine Jeanneret (University of Copenhagen): “Eloquent Bodies and the Art of Gesture” 6:30 pm Reception (L’Apogee 18, Biltmore Hotel) 7:30–9:30 pm Banquet (L’Apogee 18, Biltmore Hotel)

Sunday, April 23 8:30–9:00 am Coffee and pastries 9:00–10:20 am Faith and Reason Ayana Smith (Indiana University): “Allo specchio: Mirrors and Ocular Devices in Science, Art, and Vocal Music in Seventeenth-Century Rome” Mary Frandsen (University of Notre Dame): “Buxtehude’s Membra Jesu nostri and Lutheran Passion Theology” 10:20–10:40 am Break 10:40 am–12:00 pm Staging Sources Amanda Eubanks Winkler (Syracuse University): “Performing Remains: Theatre-Music Sources in Restoration England” Hendrik Schulze (University of North Texas): “Monteverdi rimaneggiato: Re-evaluating L’incoronazione di Poppea”

Abraham Bosse, Théâtre de Tabarin (ca. 1620), engraving. Paris, Bibliothèque nationale de .

Vol. 26, No. 2, 17th-Century Music  5 SSCM Financial Report 1 January–31 December 2016

Revenues 2016 Membership Dues* $ 5,535.00 Prepaid Dues in 2016 for 2017 & 2018 $ 1,225.00 Donations $10,927.70 General $ 340.00 Irene Alm Fund $ 2,105.00 Travel Grant Fund $ 3,620.00 JSCM $ 3,827.70 WLSCM $ 1,010.00 AHSS $ 25.00 2016 SSCM Conference $25,460.69 Interest (checking) $ 4.64 Total Revenues $43,153.03 *Funds received in 2014 and 2015 in advance payment of 2016 membership dues are not accounted for in the current revenues; they were already accounted for in the 2014 and 2015 financial reports.

Expenditures Travel Awards $ 5,705.00 2015 AMS Meeting Rooms $ 390.00 2015 SSCM Iowa City Conference (balance payoff) $ 1,035.00 2016 SSCM Conference $25,806.31 2017 SSCM Conference Venue Deposit $ 2,000.00 Newsletter (A-R Editions) $ 1,736.83 JSCM $10,043.49 WLSCM $ 632.01 General SSCM Expenses (Crooked River Design, BlueHost, etc.) $ 1,477.87 AHSS Member Dues (not yet transferred) $ 1,270.00 AHSS Donation $ 25.00 Paypal Fees $ 823.22 Total Expenditures $50,944.73

NET LOSS FOR 2016 ($ 7,791.70)

Balances (as of 31 December 2016) Checking Account (includes former Vanguard monies) $ 46,736.11 PayPal $ 4,718.73 Respectfully submitted, Maria Purciello, SSCM Treasurer 15 January 2017

6  Vol. 26, No. 2, 17th-Century Music ARTIS MUSICAE PERITI

Anthony Alms announces the publication of his article “The ble under the direction of Adam and Rotem Gilbert (five motets Tragedy of Leo Armenius: Gryphius, Music, and the Divine Telos for voices and instruments, along with works by Michael Praeto- of History” in The Germanic Review: Literature, Culture, Theory rius); and December 17, at Kirche der Stille, Hamburg, , 92, no. 1 (2017): 63–85. by Capella Peregrina (Magnificat quinti toni/2). For performances in 2017, he reports that the Balthasar-Neumann-Ensemble Georgia Cowart was elected to a two-year term as Vice President performed Jacob Praetorius’s motet “Quam pulchra es” on of the AMS, for 2016–2018. January 11 at the opening of the new Elbphilharmonie concert hall, Esther Criscuola de Laix compiled three volumes of organ music and that the Tallis Scholars will be including Praetorius’s Magnif- for Greenway Music Press, A-R Editions’ new sheet-music im- icat quarti toni as part of their upcoming USA tour and their print: Ten Preludes and Fugues from the 19th and 20th Centuries, program “Metamorphoses.” Ten Voluntaries, and Baroque Organ Music from Central Europe, Carolyn Gianturco announces the publication of volume 14 of Germany, and France. The third of these, of particular interest to the Edizione Nazionale dell’Opera Omnia di Alessandro Stradella members of the Society, includes works by Michel Corrette and (series I; ETS Pisa, October 2016). It contains two large cantatas Georg Philipp Telemann and anonymous pieces from the Brasov composed by Stradella to a scenario recently discovered to have tablature (ca. 1680–84), and is compiled from earlier editions by been written by Queen Christina of Sweden. There are two occa- John Baron, Alan Thaler, and Gwilym Beechey. sionally similar but for the most part quite different textual and Amanda Eubanks Winkler announces the publication of her ar- musical versions of the scenario: one is set for five solo voices, ticle “A Thousand Voices: Performing Ariel,” in A Feminist Com- concertino, and concerto grosso, and the other is for seven solo panion to Shakespeare, rev. ed. Dympna Callaghan (Malden, voices, two concertino ensembles, and concerto grosso. The poet Mass.: Blackwell Publishers Ltd., 2016), 520–39. In addition, she was Sebastiano Baldini (albeit “edited” by Christina), and the and her colleague theater historian Richard Schoch (Queen’s Uni- singers were known Roman virtuosos. Both compositions are mas- versity, Belfast) were awarded £607,312 by the Arts and Human- terful contributions to the repertory of seventeenth-century music. ities Research Council (UK) for their three-year project, entitled Barbara Russano Hanning gave a lecture on 4 December 2016 Performing Restoration Shakespeare. Adaptations of Shakespeare at New York’s Metropolitan Museum of Art in connection with its for the London stage during the English Restoration (1660–1714) exhibit of paintings by Valentin de Boulogne, an early seventeenth- were often highly musical; this practice-based research project will century follower of Caravaggio, many of which incorporate revive these multimedia works, developing the best staging prac- music-making. The lecture was entitled “Music and Musical tices for modern audiences. In July 2017 selected scenes from the Meaning in the Paintings of Valentin.” Restoration Tempest will be staged at the Sam Wanamaker Theatre at Shakespeare’s Globe, London, and in 2018 a full production of Rebecca Harris-Warrick announces the publication of her book the Restoration Macbeth will be performed at the Folger Theatre, Dance and Drama in French Baroque Opera: A History (Cam- Washington, D.C. In 2019, Eubanks Winkler and Schoch will lead bridge: Cambridge University Press, 2016; see announcement and a summer school for dramaturges, actors, and producers at the details online at http://www.cambridge.org/9781107137899). She Shakespeare Birthplace Trust, Stratford-upon-Avon. Scholarly out- is also serving as musicological advisor to the 2017 Boston Early comes will include a co-authored book, a collection of essays, and Music Festival, primarily with regard to the performance of the journal articles. For more information, see http://gtr.rcuk.ac.uk/ festival’s centerpiece work: André Campra’s Le carnaval de Venise projects?ref=AH%2FP004792%2F1. (Paris Opera, 1699). Currently she is working with the creative team on various questions concerning the performance, and she Frederick K. Gable reports the following performances of works will be giving pre-opera talks and appearing on panels during the from his editions of music by the early Hamburg composer Hie- course of the festival (which will run June 11–18, 2017). ronymus Praetorius (1560–1629) in 2016: September 3, 4, and 7, in Minden, Celle, and Leipzig, Germany, by Canto armonico Honorary Member Margaret Murata gave two presentations in (Boston) under the direction of Ulf Wellner (vespers program with 2016, one on “Music and Family Archives in the Biblioteca Apo- one double-choir motet ); September 24, at St. Mary Aldermary stolica Vaticana,” for the international conference The Promise of Church, London, by the vocal ensemble Siglo de Oro (concert with the Vatican Library, held in April at the University of Notre Dame four double-choir mass movements, plus the Magnificat quinti du Lac in South Bend, Indiana; the other on “Non-Venetian Arias toni/2); October 25 and 26, at the EROI Festival/Conference in in the Fondo Barberini,” for the 17th Biennial International Rochester, NY, as part of two lecture-demonstrations given by Conference on Baroque Music held at Canterbury Christ Church Gable: “Performing the Organ Mass in the Visby Tablature (1611)” University (U.K.), in July. Published in 2016 were “Allegorical and “Organ Accompaniment of Chorale Singing near Hamburg in Figures and Music in 17th-Century Spanish and Italian Scripts,” 17th Century” (with the assistance of William Porter, organ, and a in La Comedia nueva e le scene italiane nel Seicento. Trame, vocal schola); November 30 to December 4, by Stile Antico (Lon- drammaturgie, contesti a confronto, ed. F. Antonucci and A. Tedesco don), on a tour of four central USA cities with their Christmas pro- (Florence: L. S. Olschki, 2016); and a Thematic Catalogue of gram “A Wondrous Mystery,” and later in Leipzig, Germany (De- Chamber Cantatas by Marc’Antonio Pasqualini, volume 3 in the cember 8) and Antwerp, Belgium (December 18); December 2, at continued on page 8 University Church, Los Angeles, by the USC Early Music Ensem-

Vol. 26, No. 2, 17th-Century Music  7 continued from page 7 Neue Schütz-Ausgabe (Kassel: Bärenreiter, 2016). Included JSCM Instrumenta series (available online at http://sscm-jscm are “Gesang der drei Männer im feurigen Ofen” (SWV 448) and .org/instrumenta/vol-3/), some of which had been performed at the “Unser Herr Jesus Christus” (SWV 495). annual SSCM conference in New York in 2012. Her paper for the Emily Wilbourne announces two publications: her book March 2016 IMS Congress in Tokyo is on American composer Seventeenth-Century Opera and the Sound of the Commedia John Harbison. dell’Arte (Chicago: University of Chicago Press, 2016), and an ar- Derek Stauff announces the publication of his article “Schütz’s ticle, “Breastmilk, Exposed Bodies, and the Politics of the Inde- Saul, Saul, was verfolgst du mich? and the Politics of the Thirty cent,” in Echo: A Music-Centered Journal 14, no. 1 (2016; avail- Years’ War,” Journal of the American Musicological Society 69, able online at http://www.echo.ucla.edu/volume-14-1-2016/article- no. 2 (2016): 355–408. breastmilk-exposed-bodies-politics-indecent/). Andreas Waczkat announces the publication of his edition of Heinrich Schütz, Large Church Works, as volumes 34–35 of the

Journal of Seventeenth-Century Music: New Issue Available Volume 19 of the Journal of Seventeenth-Century Music is now available online (http://sscm-jscm.org/jscm-issues/volume-19-no-1/) with the following articles, whose topics span the entirety of the century and demonstrate a wide range of methodologies: •Stephen R. Miller: “Francesco Foggia (1603–88): A Biography” •Don Fader: “Music in the Service of the King’s Brother: Philippe I d’Orléans (1640–1701) and Court Music outside Versailles” •Sarah F. Williams: “To the Tune of Witchcraft: Witchcraft, Popular Song, and the Seventeenth-Century English Broadside Ballad” Also included are book and recording reviews, plus three Communications.

Donors in 2016 The Society for Seventeenth-Century Music gratefully acknowledges the following individuals who have made donations to the Society during 2016: Anonymous* Wendy Heller* Rebekah Ahrendt* John Hajdu Heyer* Antonia L. Banducci* Jeffery Kurtzman* Jennifer Brown* Marianne Louderback Rebecca Cypess Carol Marsh* Amanda Eubanks Winkler Anne Schnoebelen* Ken Filiano* Kimberlyn Montford* Frederick K. Gable Maria Anne Purciello Christine Getz Colleen Reardon* Jonathan B. Gibson* Lois Rosow* Jonathan Glixon Hendrik Schulze Barbara Russano Hanning* Alexander Silbiger* Kelley Harness Kerala J. Snyder* Janet Hathaway Oxford University Press* *The Society wishes to give special recognition to the SSCM Mecenati: individuals or organizations whose 2016 donations were $100 or more.

8  Vol. 26, No. 2, 17th-Century Music SSCM Current Membership

Rebekah Ahrendt James P. Cassaro Claire Fontijn [email protected] [email protected] [email protected] Anthony Alms Ireri Chavez-Barcenas Mary E. Frandsen [email protected] [email protected] [email protected] Paul Atkin Leon Chisholm Constance Frei [email protected] [email protected] [email protected] Antonia L. Banducci David Chung Roger Freitas [email protected] [email protected] [email protected] Michael Bane Isobel Clarke David Fuller [email protected] [email protected] [email protected] Naomi Barker Neil Cockburn Frederick K. Gable [email protected] [email protected] [email protected] Gregory Barnett Denis Collins Christine Getz [email protected] [email protected] [email protected] Kimberly Beck Hieb Georgia Cowart Carolyn Gianturco [email protected] [email protected] [email protected] Graydon Beeks Esther Criscuola de Laix Jonathan B. Gibson [email protected] [email protected] [email protected] Jane Bernstein David Crook Roseen Giles [email protected] [email protected] [email protected] Eric Bianchi Rebecca Cypess Beth Glixon [email protected] [email protected] [email protected] Stephen Bonta Drew Edward Davies Jonathan E. Glixon [email protected] [email protected] Lynette Bowring [email protected] Therese de Goede-Klinkhamer Anthony J. Godzieba [email protected] Gary Boye Catherine Gordon [email protected] Alexander Dean [email protected] [email protected] Samuel Breene John Griffiths [email protected] Ruth DeFord [email protected] [email protected] Charles E Brewer Ilaria Grippaudo [email protected] Matthew Dirst [email protected] [email protected] Jennifer Brown Bruce Gustafson [email protected] David Dolata [email protected] [email protected] Mauro Calcagno Jordan Hall [email protected] Joshua Druckenmiller [email protected] [email protected] Augusta Campagne Matthew Hall [email protected] Raymond Erickson [email protected] [email protected] Stewart Carter Susan Hammond [email protected] Don Fader [email protected] [email protected] Tim Carter Barbara Russano Hanning [email protected] Ken Filiano [email protected] Andrew Cashner Alexander Fisher Anita Hardeman [email protected] [email protected] [email protected]

Vol. 26, No. 2, 17th-Century Music  9 Kelley Harness Arthur Lawrence Derek Remeš [email protected] [email protected] [email protected] Rebecca Harris-Warrick Charlotte Leonard Lee Ridgway [email protected] [email protected] [email protected] Janet Hathaway Catherine Liddell Christoph Riedo [email protected] Wendy Heller [email protected] [email protected] Eva Linfield Lois Rosow [email protected] [email protected] Andrzej Herczynski [email protected] Joseph Mann Natasha Roule [email protected] [email protected] John Hill [email protected] Tom Marks William Rowley [email protected] [email protected] Moira Hill [email protected] Carol Marsh Graham Sadler [email protected] [email protected] Robert Holzer [email protected] Tom Merrill Steven Saunders [email protected] [email protected] Kerry Houston [email protected] Charlotte Mattax Moersch Anne Schnoebelen [email protected] Christina Hutten [email protected] [email protected] Nona Monahin David Schulenberg [email protected] Robert E. Jamison [email protected] [email protected] Margaret Murata Hendrik Schulze [email protected] Christine Jeanneret [email protected] [email protected] Jennifer Nevile Darwin F. Scott [email protected] Claudia Jensen [email protected] [email protected] G. Buford Norman Robert Shay [email protected] Gregory Johnston [email protected] [email protected] Susan Orlando Susan P. Shimp Deborah Kauffman Samantha Owens [email protected] [email protected] [email protected] Alexander Silbiger Robert L. Kendrick Janet K. Page [email protected] [email protected] [email protected] Roger Skarsten Robert Ketterer Mary Paquette-Abt [email protected] [email protected] [email protected] Ayana Smith Jeffery Kite-Powell D. Linda Pearse [email protected] [email protected] [email protected] Brenda Smith Michael Klaper Janet Pollack [email protected] [email protected] [email protected] Nicholas Smolenski Jeffrey Kurtzman Peter Poulos [email protected] [email protected] [email protected] Kerala J. Snyder Sara Ruhle Kyle Rose Pruiksma [email protected] [email protected] [email protected] Derek Stauff Seth Lachterman Maria A. Purciello [email protected] [email protected] [email protected] Alexandros Stoupakis James L. Ladewig Courtney Quaintance [email protected] Jørgen Langdalen Colleen Reardon Shirley Thompson [email protected] [email protected] [email protected]

10  Vol. 26, No. 2, 17th-Century Music Janette Tilley Andreas Waczkat John Whenham [email protected] [email protected] Leonora Wagner Vanessa Tonelli [email protected] Bryan White [email protected] Gwendolyn Toth Jonathan P. Wainwright [email protected] [email protected] Carla Williams [email protected] JoAnn Udovich Paul Walker [email protected] [email protected] Amanda Eubanks Winkler [email protected] Nicola Usula Andrew R. Walkling [email protected] Barbara Zuchowicz Lanson Wells Marc Vanscheeuwijck [email protected] [email protected]

Henri Gissey, Lute Player, costume drawing for Ballet royal de la nuit (1653). Library of Congress. Vol. 26, No. 2, 17th-Century Music  11 The Newsletter of the Society for Seventeenth-Century Music Vol. 23, No. 2, Spring 2014 Esther Criscuola de Laix, editor A-R Editions 1600 Aspen Commons, Suite 100 Middleton, WI 53562

How to Join the SSCM Membership in the SSCM is open to both individuals and institutions. Dues cover membership for the calendar year (2017). • Society for Seventeenth-Century Music only regular or institutional membership, $40 • Society for Seventeenth-Century Music only student membership, $30 • SSCM + American Heinrich Schütz Society, regular membership, $80 • SSCM + AHSS student membership, $50 Membership in the AHSS includes a subscription to the Acta Sagittariana, the newsletter of the International Schütz Society, and to the Schütz-Jahrbuch. Join or Renew Online You may now join or renew your membership online using your credit or debit card. To join SSCM, please visit our online mem- bership application: http://sscm-sscm.org/membership/join-or-renew/. To renew your membership, visit your SSCM member account. Join or Renew by Mail Dues in U.S. dollars must be paid by check, payable to “The Society for Seventeenth-Century Music.” Please send the form with your payment to the Society’s Treasurer: Maria Anne Purciello Treasurer, Society for Seventeenth-Century Music Amy E DuPont Music Building, Room 317 University of Delaware Newark, DE 19716 USA [email protected]