AMS/SMT 2014: Seventeenth-Century Events in the Land of Beer and Polka by Anita Hardeman and Maria Virginia Acuña

The NewsletterNewsletter ofof the SocietySociety for for Seventeenth-Centur Seventeenth-Centuryy Music Music Vol.Vol. 24, 23, No. No. 1, 2, SpringSpring 20152014 AMS/SMT 2014: Seventeenth-Century Events in the Land of Beer and Polka by anita hardeman and maria virginia acuña he call to polka rang out frequently at teenth century, concluding that these detailed whether collegium- or classroom-focused, this year’s American Musicological engravings were meant to help purchasers un- and the significance of dance. TSociety meeting as Baroque musicol- derstand the music within a mimetic context, A full Saturday morning session was ogists, eager to hear the latest research from providing visual imagery illustrative of the devoted to sacred music. Ireri E. Chávez- their colleagues, hurried back and forth be- musical contents. Bárcenas demonstrated that the Catholic tween the Milwaukee Convention Center and The intrepid scholar of seventeenth- Church deliberately sought to include the di- the Milwaukee Hilton via the infamous century music was faced some decisions on verse ethnic groups of Puebla de los Angeles “polka escalator.” This year’s meeting, held Friday afternoon. That afternoon’s concert (Mexico) in the text and music of a set of jointly with the Society for Music Theory featured Robert Crowe, performing with Il Christmas villancicos by Gaspar Fernández. (SMT) in blustery Milwaukee, WI, included Furioso (Victor Coelho and David Dolata, Cesar Favila explored novohispanic convent a wide variety of papers of interest to SSCM theorbos, and Neil Cockburn, organ). Crowe music of the Puebla, illuminating racial and members. A robust number of presentations lent his striking soprano voice to a perfor - social issues surrounding aspiring nuns and spread throughout the conference provided a mance of Restoration solo motets, where their music. Shifting from Mexico to France, near-constant stream of seventeenth-century Coelho and Dolata excelled in creating varied Catherine Gordon-Seifert considered the topics. Although not all the relevant papers accompaniments and ritornelli. Featured com- function of words and music in Jean-Joseph can be discussed in this summary, as many as posers included Purcell, Blow, John Croft, continued on page 2 possible are presented below. and William Church, and Strozzi’s “Oleum Don Fader opened the conference for the effusum est” as it appears in a manuscript seventeenth-century contingent on Thursday source with an anonymous addition which afternoon. Focusing on the opera Penthée Crowe believes to be by a later English In This Issue . (1703), composed by the duc d’Orléans, no- composer. torious libertine and future regent of France, In a session focusing on religion and En- News of the Society Fader argued that Penthée reflects deeper lightenment in Germany, Michael Maul and considerations of sensuality and restraint, as Jeanne Swack contextualized the Lutheran President’s Message . 2 Orléans attempted to position his libertine church music reforms introduced by Erdmann Announcement of Honorary ideals as a viable alternative to Louis XIV’s Neumeister in the early 1700s. Maul’s discov- Membership: Margaret Murata . 3 heroic glory as typified in the tragédies of ery of a performance calendar associated with List of Donors . 3 Jean-Baptiste Lully. a pupil of Schütz, David Pohle, provides valu- Letter from Australasia . 5 Friday morning promised a full session de- able information on practices just prior to the 2015 SSCM/AHS Announcement . 8 voted to topics from the long seventeenth cen- reforms, while Swack examined the ideology tury. Although Marie Anne Purciello was un- of the reformer himself. Linking Neumeister’s Annual Business Meeting . 9 fortunately unable to be present, Thomas Lin acknowledged and unacknowledged anti- Artis musicae periti . 12 gave a detailed analysis of two versions of Semitic writings, Swack placed him as a Cicognini’s libretto for Cavalli’s Giasone in highly prejudiced “expert” on Jews within Reports and Reviews terms of their relationship to a prose version Hamburg’s musical community. AMS/SMT 2014 . 1 of the play, arguing that this version provided A Friday evening panel considered twenty- Copenhagen Schütz-Fest . 4 the basis both for the original libretto and for first-century pedagogical approaches to Performing Restoration Shakespeare . 6 the revisions that took place during rehearsals. seventeenth-century topics. Chair Wendy Anita Hardeman presented a clear and con- Heller led the audience through a series of in- Symposium: In Honor of vincing discussion of the figure of Venus in vigorating presentations from Robert Holzer, Barbara Russo Hanning . 7 the French opera prologue, 1700–1750, which Drew Edward Davies, Amanda Eubanks Buxtehude Society, Lübeck . 8 redefined the role of the prologue in semiotic Wink ler, Rose Pruiksma, and Arne Spohr. The and dramaturgical terms. Matheiu Langlois panel addressed topics encompassing the term addressed the issue of illustrated frontispieces “Baroque,” connections between art and mu- in French music publishing in the early eigh- sic, the importance of student performances, Vol. 24, No. 1, 17th-Century Music 1 sion was apt, since as we know, many of our Seventeenth-Century Music is the semi-annual President’s Message colleagues find it challenging to deal with the by stewart carter newsletter of the Society for Seventeenth- music of our favorite epoch in the context of Century Music. In addition to news of the ne of the a multi-century survey. Yes, we have come a Society, its members, and conferences, the highlights of long way from the time when most musicians Newsletter reports on related conferences, Othe year for thought any seventeenth-century music was musical performances, research resources, our Society was the either overripe Lasso or incipient Bach, but and grant opportunities. Please send inquiries study session we definite challenges remain. The session was or material for consideration to the editor: sponsored during the well attended and the discussants are to be annual conference of commended for the insights they offered us. Alexander Dean the American Musi- All of us, I think, learned a few new tricks. A-R Editions cological Society in Elsewhere in this newsletter you will find 1600 Aspen Commons, Suite 100 Milwaukee in early detailed information concerning our Twenty- November. Entitled Third Annual Conference, in conjunction with Middleton, WI 53562 “After Orfeo: Music History Pedagogy in the the American Handel Society, in Iowa City. Phone: (608) 203-2584 Seventeenth Century,” the session was orga - This is our first-ever joint meeting, featuring Fax: (608) 831-8200 nized by Wendy Heller and included SSCM plenary sessions as well as dedicated sessions [email protected] members representing a broad spectrum of in- for each Society. There should be something Please note that information for the next issue terests: Arne Spohr, Robert Holzer, Rose for everyone, so I look forward to seeing you must be submitted by August 15, 2015. Pruiksma, Drew Edward Davies, and Amanda there, April 23–26. ISSN: 1054-6022 Eubanks Winkler. Wendy’s title for the ses- Layout and Design Donna Gorman and Ann Peter AMS/SMT 2014 continued from page 1 The Society for Seventeenth-Century Music is a learned society dedicated to the study and Surin’s Cantiques Spirituels (1655), composi- A second exceptional concert took place performance of music of the tions intended to ward off demons and facili- on Saturday night as Quicksilver Baroque seventeenth century. tate divine union with God, and she suggested gave an stunning performance of large- that Surin’s cantiques—used for the most part ensemble music ranging from late sixteenth- http://sscm-sscm.org by women—highlight the important role of century England to seventeenth-century Italy women within religious and cultural move- and southern Germany, including a wonderful Governing Board (2012–2015) ments. In the final paper of the session, ensemble sonata by Dutch composer Philippe Stewart Carter, president Dianne L. Goldman demonstrated that many van Wichel. Solo performances on the lute Wake Forest University [email protected] of the responsories previously attributed to and harpsichord added to the diversity of the Amanda Eubanks-Winkler, vice president Mexican composer Ignacio Jerusalem y Stella program. Violinists Robert Mealy and Julie Syracuse University are in fact contrafacta of other works by this Andrijeski led the group in adroit and com- [email protected] composer, thus calling into question assump- pelling readings of this wonderful music, so Christine Getz, treasurer tions about Jerusalem’s musical production much of which depends on the virtuosity and University of Iowa and the responsory genre in eighteenth- dexterity of the ensemble [email protected] century Mexico City. The seventeenth century made its final ap- Andrew Weaver, secretary In other Saturday papers, Saraswathi Shulka pearance in the Sunday morning SMT session Catholic University of America linked the late seventeenth-century vogue for on Early Tonal Corpora. Megan Kaes de- [email protected] “Flemish” harpsichords to the Querelle des scribed early homophonic genres, specifically colorists, as both supporters of the Flemish the English ballett and the French air de cour, Gregory S. Johnston, artist Reubens and defenders of the “Flemish” as prototypes for later harmonic language. chair American Heinrich Schütz Society sound centered their discussions around the She further analyzed the impact of

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