ICBM 2016 Canterbury: Provisional Plan

Venues and rooms used for conference events: Powell Lecture Theatre (Pg09), lecture rooms in Powell (Pg06, Pf06) Laud Lecture Theatre: Lg16 Newton: Ng03, Ng07 (in reserve) Maxwell-Davis: MDg01 (book stalls and registration) St Gregory’s Centre for Music: lecture-recitals, Thursday evening Venus and Adonis concert

Wednesday 13 July

12:00–17:30 Registration MDg01

18:00–19:30 Welcome reception Cathedral Precincts—details to follow Evening Delegates on their own for dinner

Thursday 14 July

Delegates who have not yet registered will need to go to MDg01 to collect their badge and conference pack.

Morning session

Pg09 Pg06 Pf06 Lg16

Bach (analysis) Sacred Oratorio and Corelli and Italian London Concert Mass Settings violin music Life

chair: Yo Tomita Janet Page Pavanello Bryan White

09:00 Alevizos, Re-ordering Abbado: The Medicis Pavenello: An McMillan, The Small “The Art of Fugue”? and the oratorio unknown trio sonata Flute Concerto in A New, Analytical point production in Baroque by Corelli? Problems Early Eighteenth- of view Florence and chances of a Century London rediscovered piece 09:30 Fazekas: Formal Smith: Bartolomeo D’Ovidio: Old’ and DeSimone: Variety deviation in the Kyrie of Grassi’s Trasgressione ‘New’ Roman Orpheus Concerts and the the Mass in B Minor e Pentimento di David: in comparison: on the Cultural Practice of A Newly Discovered ascription of Musical Miscellany Oratorio Volgare triosonata Ahn. 16 by Colista/Corelli

10:00 Tatlow: Magnificent Kauffman: Celebrating Laghi: The music of Harbor: The Birth of Measurements: Saint Vincent de Paul Tommaso Paolo the Music Business? Significance in the at Saint-Cyr: A plain- Alberghi (1716-1785), Public commercial Structure of C. P. E. chant musical mass by violinist: new concerts in London Bach’s Magnificat Nicolas Clérambault? documents from the 1660–1750 Scuola delle Nazioni.

!1 Thursday , Late Morning Session

Pg09 Pg06 Pf06 Lg16

Opera in English Biography and French opera Froberger source materials

chair: Amanda Eubanks-Winkler Don Fader Andrew Wooley

11:00 Lindekens, Words and Byram-Wigfield: When Hardemann: Cross- Vejvar: Apparition’: an music in John Blow’s Did You Last See Your casting Cupid: Female adequate metaphor Venus and Adonis: An Father? Antonio Lotti’s singers and the god of for Froberger’s interdisciplinary Family in Hanover and love in French opera music? analysis Venice 11:30 Rawson: Pepusch’s Brover-Lubovsky: Sadler: Rameau, the Barker: Learning the Venus and Adonis Between Baroque and tax-farmers and a pair of trade: What did (1715)—a Tercentenary Romantic: Giuseppe sacred parodies Froberger do in Metamorphosis Sarti as counterpoint prepared for a Rome? student and teacher commemoration of Louis XV’s recovery from illness 12:00 Alessi: The Game is Duron: Opera in Hovi: Blancrocher, Afoot’: concert: the marquis de Termes, Finally, England’s seventeenth century and Froberger — a ‘Opera’ Becomes practices rich bourgeois, a poor Opera according to the sources nobleman, and a of Lully and Campra musician?

12:45 Lunch SCR

Thursday, Afternoon Session

Pg09 Pg06 Pf06 Lg16 Ng07

Handel and Notation and Mysticism and Performance Ceremony and London aspects spirituality Practices space Opera contrapuntal ingenuity

chair: Burrows Schab Lutterman Psychoyou

14:00 Cummings: Howard: The Gordon: The Sanguinetti: Realising Fernandes: Handel under clangour Ambiguous Role the bass on the cello? Ceremonial, music attack: the resound’: of Jean-Joseph The early years and architectural London opera Canonic Surin’s 1650–1700 space in the seasons 1733– Permutations in Cantiques Patriarchal Church 37 a Late Canzona Spirituels in the of the by Purcell Pursuit of Magnanimous Sacred King: remaking Mysticism roman models in Lisbon

!2 14:30 Taylor: Slimáčková: Hutten: Prayer, Suckling: The Favier: Directors of Fugue as the Meditation, and realisation of Soundscape of a in main musical Temptation: A recitative festive city: London in organ form of Creative accompaniment by celebrating the 1733: Who the Czech lands Framework for the cello: historical birth of the Was Who? in the context of Matthias and current practices Dauphin in Dijon organ music in Weckmann’s (1729) Central Europe Sacred Concertos 15:00 Suominen: Creszendo: The Baines: The Ghost In Thompson: Versification in subject Dies The Machine: how Spatial awareness Handel´s Domini in the arrangements made and performance Opera Giulio sacred cantata for mechanical planning in the Cesare in of the Baroque musical instruments music of Marc- Egitto period in Italy challenge modern Antoine ‘eighteenth-century’ Charpentier performance practice norms 15:30 Tea/cofee

Thursday, Late-afternoon Session

Pg09 Pg06 Pf06 Lg16 Ng07

Bach; new French Genre and Piracy, Violin perspectives on connections style Protection and instrumental Popularisation in music the 17th-century Music Trade

chair: Peter Wollny T. Favier R. Arendt Fehleisen

16:00 Kovačević: A New Geay: The Gardner: Rose: Protected Lombardia: Early Source of Bach’s Evolution of Maurice property: Schütz, sources for the Violin Solos from Musical Greene and Schein and the study of violin Vienna Language in Mid-Eighteenth- Saxon printing music in Madrid: 17th-Century Century English privileges The Gusarañas France: Song: manuscript (ca. From Eustache Spenser’s 1690) Du Caurroy to Amoretti Marc-Antoine Charpentier

16:30 Hebert: Freelance Tuppen: Love Springthorpe: Schildt: Italian Lee: “Structural Musician and and sweet Johann Music Coherence beneath Entrepreneur: passion: Le Christian Appropriated for Surface Contrast” – How J.S. Bach Triomphe de Roellig and the Protestant Motivic Treatment Supplemented his l’Amour as a early Europe: the Role in Dario Castello’s Income in Leipzig musical source Divertimento in of Madeleine and Sonate Concertate from 1723 to 1750 for Purcell’s The Dresden Marie Phalèse in Fairy Queen Antwerp, 1629–75

!3 17:00 Tomita: Towards Levenson: “Vive Foster: Identity Lebedinskim: The the accurate la comédie!”: and Style in the Travels of a Tune: understanding of Adapting French English 'Horn Purcell’s ‘If love’s J. C. Altnickol’s Theatre and Song' of a sweet passion’ copies of Bach’s Music for the the1730s and the Cultural works London Stage, Translation of 1718 – 1735 English 17th- Century Music 19:30 Concert: The Harmonious Society of Tickle-Fiddle Gentlemen perform J. C. Pepusch’s 1715 masque Venus and Adonis. St Gregory’s Centre for Music or St Peter’s Methodist Church.

Friday 15 July

Morning session

Pg09 Pg06 Pf06 Lg16

Performance Pez and German Librettists and Italian composers and Practices Instrumental poetics communication music

chair: Rawson Arne Spohr J. Glixon Tim Carter

09:00 Robinson: The Corall: No Strings De La Matter: Maddox: “The notes ... performance of Attached? – Johann Intersections between perfectly imitate a Praetorius’s Christoph Pez’s poetic devices and natural discourse”: Terpsichore (1612): a works for Oboe musical setting in Rhetorical principles for re-examination of the Band Domenico Scarlatti's reading the rhythms of sources. Tolomeo et Italian recitative. Alessandro (1711). 09:30 Holman: A Vast Robertson: The Beth Glixon: The Sanna: How to flee from Number of Voices and consort suites of Librettist and the sorrow’: Alessandro Instruments’: The Johann Christoph Prince: Matteo Noris, Stradella at the Performance of Large- Pez Ferdinando de’ intersection between the Scale Concerted Medici, and the Art of academia and the Music in Early the Libretto creative industry Eighteenth-Century [discussion paper] London 10:00 Hunt: Performance of Molinaro: Variations Knaus: Libretto, Queiroz de Albuquerque: the pre-Restoration in Practice: Music, Performance: Chiaroscuro and magic verse anthem The Minuet from the Comic Narratives in in the of Notebuch dal Signor Early Opera Buffa Handel Kittell (1789)” 10:30 Tea/coffee

!4 Friday , Late Morning Session

Pg09 Pg06 Pf06 Lg16

Jesuits and Catholic Music and Science Roles of Music Italian music and Culture Publishing and aesthetics Commerce chair: Tassilo Erhardt Stephen Rose Naomi Barker

11:00 Grippaudo: Jesuits, Jakobidze-Gitman: Clarke: The Kurtzmann: A Neo- Music, and Power in Cartesian Doubt after seventeenth-century Platonic Reading of Eighteenth-Century Newtonian Gravity? recorder: published Monteverdi’s Arianna Palermo Notes on Rameau’s repertoire Reference to Descartes in “Démonstration du principe de l'harmonie” (1750) 11:30 Leech: Thomas Schulenberg: Four Shichijo: What reveal Heller: Ovidio Kingsley SJ (1650– Hundred Years of the sale catalogs: the Travestito: Viewing 1695) – from Froberger: classification of Seicento Opera Canterbury Cathedral Science and instrumental pieces through Anguillara’s chorister, to Jesuit Subjectivity in and the stylistic Lens priest and composer. Seventeenth-Century judgment by the music Keyboard Music publisher in Amsterdam Estienne Roger (1696– 1716) 12:00 Ballesteros Valladolid: Psychoyou: Joseph Herissone: Exactly Carter: Listening to The performance of Sauveur, Bernard de engrav’d by Tho: Music in Early polychoral masses Fontenelle, and the Cross’? The Role of Baroque Italy during the middle entrance of Acoustics Single-sheet Prints in decades of the 17th in the French Royal Preserving Performing century in Valladolid, Academy of Science: a Practices from the Spain new overview and Restoration Stage perspectives

12:45 Lunch SCR

!5 Friday, Afternoon

Pg09 Pg06 Pf06 Lg16 Ng07

Court, Cathedral Venetian opera Patronage and English Issues in and Monastic Life mobility thoroughbass French and in composition Italian Style and performance

chair: Rose Valeria de Lucca Fred Fiehlsen Newsholme

14:00 Spohr: Privileged Scotting: A Garavaglia: de Goede: Spicy Powney: A Time Dependency: The double début: Venetian Patronage Continuo of Transition: The Legal and Social the singer and Italian social Accompaniment French and Position of Black in network: the letters in Seventeenth- Italian roots of Court Trumpeters Giovanni Maria of Michiel family Century English Marc-Antoine in 17th-Century Ruggieri’s Music Charpentier’s Germany Armida Time Signatures abbandonata Explored (Venice, 1707). 14:30 Hochradner: Mind De Feo, Cessac: The Schönlau: Klaper: the gap’. The Ambleto (Venice musical patronage Approaches to Observations on Salzburg Court 1705) and the of the duchesse du Composition and the construction Music between collaboration Maine (1676-1753)” Improvisation in of musical Biber and the between Keyboard ‘Frenchness’ in Mozarts Apostolo Zeno Grounds of the the theatrical and Pietro English works of J. B. Pariati Restoration Lully Period 15:00 Page: Time, Viviani: Wirth: “With Schab: Purcell’s Fader: French Space, and Cesti’s Tito on promise that if I Instrumental Music in Milan Community: stage would serve him he Music and the circa 1700 via Performing (1666-1676) would give me as Issue of the Collected Plainchant in the much as any prince Temperament Papers of the Viennese Convent in the world“: John Prince de of St. Laurenz in Dowland’s visit at Vaudémont the Early the Wolfenbüttel Eighteenth Court of Duke Century Heinrich Julius

15:30 Tea/coffee

!6 Friday, late afternoon

Pg09 Pg06 Pf06 Lg16 Ng07

France Solo Bach Cazzati Cantatas England

chair: Gordon Tatlow Stein

16:00 Legrand: On the Flaminghi: Mari: Maurizio Kuhn: Cantata Price: “Useless in trail of a Rhythmic Cazzati and con L’Arpa-an the Choir”: the mysterious ambiguity in Mantua homage a Laura music and eighteenth century Bach’s Presto d’Este? musicians of French opera of the Sonata I Canterbury composer, a Violino Solo Cathedral Mademoiselle senza Basso 1700-1760 Duval (BWV 1001)

16:30 Bane: The Art of Davis: The Zitellini: Amendola: Poetry Mann: Et in Complimenting Analysis and Nuovamente in Music in 17th arcadia Ergastus Amateur Musical Performance of Ristampata e con Century Rome: - Pastoral to Performances in Implied Nuove Aggiunte: New Attributions Politics: pre- Seventeenth- Polyphony in Maurizio Cazzati of Cantata Texts Handel operatic Century France Solo Bach as the Editor of of Giovanni Pietro experiments, Himself Monesio and London, 1705– Giovanni Lotti 1711 17:30 Conference Evensong—Canterbury Cathedral — 18:15 19:30 Catches, glees and a pub crawl through ye olde streets of Canterbury with the gentlemen of the Cathedral Choir. Meet at The Parrot.

!7 Saturday 16 July

Morning session

Pg09 Pg06 Pf06 Lg16 Ng07

Handel Music Sacred Music in Cultural exchange Issues of Text, Collections and Germany in European music Translation and Courtly Life during the long Performance 17th century: theories, problems, potential

chair: Gradyon Beeks Voss

09:00 Burrows: Haenen: Johnston: Heinrich Roundtable: Hume: The Handel, Walsh Reconstructing Schütz’s Musical Lars Berglund Reception of and the the Emperor’s Gift to the Peter Wollny Anthems with publication of Library: Leopold Wolfenbüttel Stephen Rose Non-Standard Messiah I and his Private Court: What the Manuel Bärwald Texts in Music Collection Partbooks Tell Us Bernd Koska Early‑Eighteenth‑ Ester Lebedinski Century London Maria Schildt Choral Matthew Laube Repertories 09:30 Fehleisen: I Coffey: The Tilley: Purciello: know, or at least House of Reconsidering the Reading I think I know: Brunswick- ‘Feminization of Madness: Reconsidering Lüneburg at the Piety’: Schütz, the Singing the first song in Venetian opera: Song of Songs, Madness: Part III of Italian singers of and the Verisimilitude Handel’s the Electoral Metaphysics of and the Operatic Messiah court Sacred Love Mad Scene in 1640s Venice 10:00 Wooley: William Murata: Non- Kreyszig: Dieterich Gero: Julius Babell, Jean- Venetian Arias in Buxtehude as Bernhardi: François the Fondo Musical German vs Latin, Dandrieu and Barberini Entrepreneur in Kress vs HWV 441 the Juxtaposition Capricornus of Chorale, Aria and Concerto

10:30 Tea/coffee

!8 Saturday , Late Morning Session

Pg09 Pg06 Pf06 Lg16

Purcell and Opera and Theory Performance Practices controversies in 17th-century English music

chair: Tuppen/Herrisone Greg Barnett

11:00 Adams: ”It's Nice to Rosa Cafiero, Giulia Guido: From Affects to Glüxam: „One must play Find a Piece of Paper Giovani and Raffaele Individual Sensibility: from the soul …“ : the with a Date on it." But Mellace: Giuseppe Emotions and Doctrine of the what if you can't find Sigismondo's Subjectivity from Affections and its it? 'Apoteosi' as a Frescobaldi to Carl Importance for Source for Neapolitan Philipp Emanuel Bach Performance Practice in Studies Music of the 17th to 18th Centuries 11:30 Wood and Pinnock: Voss: Il Tricerbero Carter-Hunt: Salomon O’Loghlin: Some Upsetting a much- umiliato: A Handel de Caus’s Institution performance practice loved apple-cart aria from London as a harmonique (1615): A questions posed by a “suitcase piece” for Case Study of unique treatise from the Nicolo Grimaldi in Intercontinental early eighteenth century Naples Collaboration in the Production of an Early Modern Music Theory Treatise 12:00 White: Compiling Stein: Alessandro Dodds: Internal and occasional texts for Scarlatti’s Clearco in External Factors of Purcell’s anthems Negroponte (Naples, Seicento Modal 1686) and the Politics Conventions of Production

12:45 Lunch SCR

!9 Saturday, Afternoon Session

Pg09 Pg06 Pf06 Lg16 St Greg’s

British and Italian Opera Dance and dance Travel and Harpsichord Irish Music: forms Musical Lecture-recitals culture(s) and Mobility institutions

chair: Herissone Michael Robertson Howard T. De Goede

14:00 Eubanks: Psalm Desler: La Torrente: “The Getz: The Newsholme: Singing in Early diversità de’ demoniac tune of Traveler’s Worcester’s Modern English caratteri degli the Sarabande”: Salesmen: William Davis: Schools uomini’: Nicolini Erotic dance-songs Marketing assisting ‘mighty and the in early modern Virtuoso Music in sons of art’? Development of Spain Early Modern Metastasio’s Milan Dramatic and Aesthetic Approach to the dramma per musica 14:30 Murphy: ‘In the Spáčilová: Chen: Towards a Ahrendt: The Dewhirst: The VICEROY, bless Wandering of diverse Babel[l]s, ‘Spinettina’: the KING!’: Orlandini’s Antig interpretation of between Octave Pitch Reuse and ona – A courantes: musical Hanover and Keyboard Revision in Contribution to mobility in Baroque London Instruments in Matthew the Aesthetics of German-speaking Italy Dubourg’s Opera Pasticcio Europe Dublin Odes in the 18th Century 15:00 Beeks: Dr. J. Glixon: Barnett: Absolute Erhardt: Travel Rotem: The Pepusch at Salvaging Tempos, Liminal Diaries as Carlo G. Cannons Statira, or If at Rhythms, and Sources of Early Manuscript first you don’t Ancient Notational Modern Music succeed... Superfluities in Late- History Seicento Sonatas

15:30 Tea/coffee

!10 Saturday, Late-afternoon Session

Pg09 Pg06 Pf06 Lg16 Ng07

The Future of Pedagogy Bach Improvisation Drama, Research into narrative and Scribal Hands text

chair: Holman Ruth Tatlow Margaret Murata

16:00 Roundtable: Gaudefroy- Markovska: Riedo: Unveiling the Stefanovic: Fiona Smith, Demombynes & Bach’s Suites mystery of violin Renaud ou La Donald Cam: What are the for Solo Cello improvisation suite d’Armide Burrows, intrinsic qualities and (BWV 1007 - by Henry Rebecca the impact of the 1012): Desmarest: Herissone, Alan practice of comedy- Textuality and dramaturgic and Howard, Estelle ballet and opera of Beyond in the narrative Murphy, Fiona the period of Louis Search for analysis Smith, Andrew XIV in the cognitive ‘Truth’ Woolley development of students in musicology? 16:30 Bowring: The Janz: Resonant Chung: What newly- Giles: The Artisanal Tempo, tonality rediscovered Rhetoric of Instrumentalist in and tempo sources tell us about Contrasts in the Early Baroque Italy: relationships in seventeenth-century Seicento A New Approach to J.S. Bach’s French harpsichord Madrigal: Pedagogy Orchestral creativity Monteverdi’s Suite No 2 in B terza pratica? minor 17:00 BNUK session Lutterman: “Trading Zazzo: ”Troppo Fours” in the audace": Seventeenth Handel, Rolli, Century: and Milton in the Christopher Italian-texted Simpson on 1741 revival of ‘Contrapunctus L'Allegro Extemporalis’

19:30 Conference banquet, Westgate Hall. Possible tour of Westgate Tower before meal.

Sunday

10:00 Business meeting

12:30 Excursion?

!11