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TWENTY-FIFTH ANNUAL CONFERENCE OF THE SOCIETY FOR SEVENTEENTH -CENTURY MUSIC Providence, RI: Providence College April 20-23, 2017 SSCM, Providence, RI / page 2 of 24 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 registration 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, St. 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 Print Cultures (chair: Rebekah Ahrendt, Yale University) 9:00–10:20 am 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 SSCM, Providence, RI / page 3 of 24 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): “ʻPublics 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) Perception and Representation (chair: Sarah Williams, University of South Carolina) 2:00–3:20 pm Derek Remeš (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 Biltmore Hotel for Providence College 8:00 pm Andreas Scholl: Desiring Beauty, with Victor Coelho (lute), David Dolata (theorbo), 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 SSCM, Providence, RI / page 4 of 24 Saturday, April 22 8:30 am–6:00 pm Book exhibit 8:30–9:00 am Coffee and pastries Local Power (chair: Drew Edward Davies, Northwestern University) 9:00–10:20 am 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 (1) (chair: Alexander Silbiger, Duke University) 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 SSCM, Providence, RI / page 5 of 24 3:20–5:30 pm Performative Gestures (2) (chair: Tim Carter, University of North Carolina at Chapel Hill) 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 (chair: Maria Purciello, University of Delaware) 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 (chair: Mauro Calcagno, University of Pennsylvania) 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” SSCM, Providence, RI / page 6 of 24 ABSTRACTS Jane Bernstein (Tufts University): “Spectacular Matters and Print Culture: Cavalieri’s Rappresentatione di Anima, et di Corpo” In February 1600, Emilio de’ Cavalieri staged his Rappresentatione di Anima, et di Corpo for Filippo Neri’s Congregation of the Oratory in Rome. The timing of this performance was no accident: 1600 marked a Jubilee Year as well as the twenty-fifth anniversary of papal recognition of the Congregation. Of course, 1600 also witnessed the printing of a musico-theatrical genre perceived then (and now) as new. Cavalieri’s work stood as the first of three publications that also included Jacopo Peri and Giulio Caccini’s settings of Euridice, all of them appearing within the span of five months. Much has been written about Rappresentatione with regard to opera, oratorio, and the new recitative style. Taking their cue from the polemical writings of Caccini, Peri, Cavalieri, and others, music historians have debated its significance to the history of opera. Scholars more recently have highlighted its role as a spiritual work that disseminated post-Tridentine ideas championed by Neri’s Congregation. This emphasis on the question of musical genre has eclipsed other important aspects of Cavalieri’s work, in particular the modernity of the printed book itself. Of all Italian music editions published at that time, that of the Rappresentatione was by far the most innovative and extravagant. It was the first large-scale vocal work issued in full score from movable type, and the earliest music edition to include a basso continuo complete with figures. Even more significant, it was the first publication to present a blueprint of what makes good music theater by explaining, in a series of three prefaces, how to stage and perform the work and others like it. This paper will consider this music print from the perspective of its materiality, focusing, in particular, on how the physical appearance of the book and the presentation of its contents served as important tools in publicly broadcasting not only the music and text but also the production and spectacle of Cavalieri’s landmark work. Leon Chisholm (Deutsches Museum, München): “The Sacred Concerto as Trading Zone” The publication of the organ continuo part for Giovanni Croce's Motetti a otto voci by the Venetian printer Giacomo Vincenti in 1594 marked the debut of the basso continuo in printed collections of ecclesiastical music. By 1602, when Ludovico Viadana's landmark Cento concerti ecclesiastici appeared in print, organ continuo parts had been issued for nearly forty sacred prints, mostly by Venetian and Milanese printers. Scholars often discount this “beginning” of the continuo as a historical watershed, for several reasons: early printed accompaniments are usually not independent parts; many of the earliest printed continuo parts were the initiative of printers rather than composers; and the “debut” amounted to printed music catching up with a longstanding performance practice and, thus, represented nothing truly new. Yet to discount the entry of a craft, like continuo playing, into print is to ignore what Marshall McLuhan called “the psychic and social consequences” of inserting a medium into a human activity. The addition of the continuo part amounted to the most radical alteration of the material form of ecclesiastical music since the advent of print. It inscribed the organ, a machine, SSCM, Providence, RI / page 7 of 24 onto the material fiber of a centuries-old musico-liturgical repertoire designed for human voices: polyphonic settings of texts used during the services of the Catholic Church. In this paper, closer examination of early printed continuo parts (particularly those published before 1606) illuminates a crucial yet little-studied development in early modern music history: the convergence of the craft of keyboard playing and the art of composition—a convergence that was a basis for seminal developments in eighteenth-century music, including the partimento tradition. Specifically, I argue that the paratexts of continuo parts and vocal partbooks of printed collections of sacred concertos helped bridge the rhetorical and social gap between these two knowledge traditions. In making this argument, I draw on science historian Pamela Long’s concept of the “trading zone,” intended to describe the role of books in abetting the social uplift of mechanical arts in the Middle Ages and Renaissance. Naomi J. Barker (Open University, U.K.): Frescobaldi’s Primo libro d’arie musicali: The Printed Book as Multimedia Experience? In a pan-semiotic world view such as was prevalent in the early modern period, almost anything from mundane objects to exotic animals might be used to represent or signal something beyond the obvious, and emblems and symbols could be found everywhere.
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    The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.