Vol. 24 No.2 Fall2015

TheThe NewsletterNewsletter ofof the the SocietySociety for for Seventeenth-Century Seventeenth-Century Music Music Vol. Vol. 23,24, No. 2, 2, Spring Fall 2015 2014 Miami 2016: How Sweet It Is! by david dolata

ur 23rd annual meeting will take tice; CSI: Miami; Glades; and (back in the place April 14–17, 2016 in Miami, day) Miami Vice. Coconut Grove is an Othe centerpiece of a vast four- easy shuttle or cab ride from Miami Inter- county metropolitan area bounded by the national Airport (MIA), and the weather in Palm Beaches to the north and extending April is usually stupendous with low hu- all the way to Key West to the south, with midity and abundant sunshine. Our confer- Ft. Lauderdale, Coral Gables, and the ence hotel is the Mutiny, a boutique hotel Florida Keys in between. Hosted by the whose rooms are really studio apartments, Florida International University College of many with ocean views. A lovely outdoor Architecture + The Arts and School of Mu- area includes a tropical pool, waterfalls, sic in partnership with the Miami Bach So- and the occasional parrot. Because hotel ciety, the conference will offer stimulating rooms are in such high demand in Miami, intellectual and musical experiences in an SSCM members must reserve their rooms unparalleled setting. Florida International by February 29 to receive the discounted University (FIU), located in west Miami rate of $179 per night; the non-conference with satellite campuses throughout the re- rate per night is $300+! The Mutiny is a gion, is the nation’s fourth largest univer- five-minute walk from the conference site, and, outside, a lagoon with seventeenth- sity. As Miami’s public research university, a local church complex where the paper and eighteenth-century European-style FIU serves a diverse population in a city sessions and concerts will take place. sculpted gardens. SSCM members receive where 60% of its citizens speak Spanish at Following our opening reception at the discounted admission. For those who pre- home. Miami means “sweet water” in the Mutiny pool area on Thursday, our first fer to venture beyond Coconut Grove’s local indigenous Indian language. While it concert will celebrate Miami’s Spanish friendly confines, no place represents the is nicknamed the “Magic city” and the roots by featuring the world’s leading au- vitality of Miami more than South Beach “Gateway to the Americas,” no ethnic thority on vihuela, John Griffiths, who this or SoBe, a 15 to 20 minute car, cab, or group is more prominent than the Cuban past November was named AMS Corre- continued on page 3 community. Its center is along the famed sponding Member from Australia. On Fri- Calle Ocho (8th Street) in Little Havana, day night we will be treated to the FIU where you can enjoy the typical Cuban Opera Theater and Collegium Musicum’s In This Issue . . . rocket fuel espresso known to locals as performance of John Blow’s short opera “cafecito,” sample Cuban cuisine at Venus & Adonis, leaving you plenty of News of the Society beloved local restaurants such as the “Ver- time to sample Coconut Grove’s active sailles Café,” and watch Cuban artisans nightlife. Both concerts are sponsored by President’s Reminiscences 2 roll cigars right in front of you. Closer to FIU and the Miami Bach Society and are 2016 SSCM Announcement 3 Havana than to Orlando, South Florida free to SSCM members. Saturday night’s 2016 SSCM Call for Papers 5 certainly earns its tongue-in-cheek banquet will be held around the corner, in Treasurer’s Report 5 th moniker as Cuba’s 16 province. the quaint Peacock Garden Café that is Artis musicae periti 6 The conference itself will take place in sure to remind our Society’s esteemed Annual Business Meeting 7 Coconut Grove, Miami’s oldest and most president of the Coconut Grove he knew as picturesque neighborhood, right on the bay a young man. Membership Directory 8 with dozens of restaurants within a five- The nearby Vizcaya Museum and Gar- minute walk. It’s been referred to as “a dens should be of particular interest to our Reports and Reviews blend of Greenwich Village, Caribbean members. It is an oceanside estate an- Haapsalu Early Music Festival 3 port-of-call, and small European village chored by an Italian Renaissance style SSCM/AHS 2015 4 situated in a tropical paradise,” where pea- villa, built by the industrialist James Deer- cocks roam the streets as freely as do cats ing and adorned with luxurious decorative and dogs. It is the location of numerous arts, fine paintings and tapestries, a music film sets and TV shows such as Burn No- room, an organ room, an inner courtyard,

Vol. 24, No. 2, 17th-Century Music  1 President’s Reminiscences and glitzy supper clubs, you are in for a Seventeenth-Century Music is the semi-annual surprise! David Dolata, our Local by lex silbiger newsletter of the Society for Seventeenth- Arrangements Chair, sings the praises of Century Music. In addition to news of the n anticipation Coconut Grove elsewhere in this newslet- Society, its members, and conferences, the of our forth- ter, but, if you will forgive my indul- Newsletter reports on related conferences, Icoming 24th An- gence, I would like to add a personal note musical performances, research resources, nual Conference, I here. In 1957, while working at the Ma- and grant opportunities. Please send inquiries thought back to our rine Lab on Virginia Key (this was in my or material for consideration to the editor: previous twenty- pre-musicology, scientist days), I lived three conferences for a year in a little apartment a few Alexander Dean (OK—I had to skip blocks from our conference venue. In A-R Editions a couple), and it oc- those days Coconut Grove resembled a smaller, tropical version of Greenwich 1600 Aspen Commons, Suite 100 curred to me that each one was in some ways special: different from all the oth- Village during those same years: hole-in- Middleton, WI 53562 ers, and memorable. Several had fabu- the-wall art galleries, book stores, coffee Phone: (608) 203-2584 lous locations and venues, like La Jolla shops, and a playhouse, all of which also Fax: (608) 831-8200 and New York’s Metropolitan Museum; served as beatnik hangouts. Like the [email protected] noteworthy historic hotels, like the Nas- Village, “the Grove” has changed and Please note that information for the next issue sau Inn in Princeton and the Gunter in become a bit gentrified, but has neverthe- must be submitted by January 15, 2016. San Antonio; fascinating historic attrac- less retained some of its original am- ISSN: 1054-6022 tions, like Shaker Village in Kentucky biance. For me, however, the most impor- (where we stayed in the original build- tant part of my Grove year was being Layout and Design ings and sang from shape notes), Old initiated, at the ripe old age of twenty- Donna Gorman and Ann Peter Salem Village in North Carolina (with its two, into early music. Not long after musically rich Moravian Archive and his- moving there I discovered the Coconut The Society for Seventeenth-Century Music is toric organ), and the Ephrata Cloister Grove Recorder Workshop, where early a learned society dedicated to the study and near Lancaster; unique strolling opportu- music and instruments were taught, sold, performance of music of the nities like the incredible Botanical and enthusiastically performed. The seventeenth century. Gardens at LA’s Huntington Library and Workshop is long since gone, but it was San Antonio’s Riverwalk; and fantastic there that for the first time in my life I Governing Board (2015–2017) banquets—can anyone forget the feast touched a harpsichord––a little Dol- Alexander Silbiger, president in New York’s Chinatown? I must add metsch spinet––and, if you pardon the cliché, the rest is history (or in any case, Duke University [email protected] that in each case we owed a great deal of the success of the meeting and the plea - my history). But back to the future! Wendy Heller, vice president sure it offered to the thoughtful planning David managed to find great venues for Princeton University and the warm hospitality of the people us to meet, eat, and sleep, incredibly af- [email protected] in charge of the program and local fordable considering their prime location, Jonathan Gibson, treasurer arrangements. and he has planned a couple of what James Madison University [email protected] Which brings me to the last confer- promise to be exceptional concerts. I Rebecca Cypess, secretary ence, and to the forthcoming one. The look forward to seeing you all there––this Rutgers University [email protected] outstanding special feature of our Iowa is a conference not to be missed! Gregory S. Johnston, meeting was of course the joint gathering I must add a concern that some mem- chair American Heinrich Schütz Society with the American Handel Society. It was bers won’t be able to attend because they University of Toronto a treat to have the Handelians join us in cannot afford the costs. Conferences, of [email protected] some of our sessions and other events, as SSCM as well as other organizations, have become increasingly expensive, and Hendrik Schulze, member-at-large well as to have the opportunity to attend some of theirs! Through the combined I expect that Miami will not be an excep- University of North Texas efforts of our Local Arrangement host tion. Therefore I once again urge you to [email protected] Bob Ketterer and the Program Commit- contribute to our Travel Fund, if you have tee headed by Wendy Heller we were not already done so (or even if you have), Honorary Members presented with a well-designed program, and take advantage of the matching fund Stephen Bonta which notwithstanding the logistical opportunity provided by some generous Bruce Gustafson complexities worked out beautifully; and members, which will double your contri- Barbara Russano Hanning being in friendly, comfortable Iowa City bution. I’m pleased to report that many Jeffrey Kurtzman was an additional pleasure. of you have already contributed, but there Alfred Mann† Nonetheless, the venue of our 24th remains plenty in the kitty for additional Margaret Murata conference, Coconut Grove in Miami, matching gifts. So, please donate, and Anne Schnoebelen will be hard to beat. If your image of Mi- let’s make sure that our Society’s confer- Alexander Silbiger ami is high-rise hotels, crowded beaches, ences remain inclusive! Kerala Snyder

2  Vol. 24, No. 2, 17th-Century Music The Twenty-Second Early Music Festival in Haapsalu, Estonia by andreas waczkat stonia is a country of immense rich musical traditions, with a vivid con- Etemporary concert and festival scene all over the country, featuring, among others, Organ, Guitar, Chamber Music, and Early Music. An overview is provided on http://festivals.ee/?s=44. Supported by Eesti Kultuurkapital, the federal cultural endowment of Estonia, I had the chance to visit the Twenty-Second Early Music Festival in Haapsalu in July 2015. The small town of Haapsalu, located at the Baltic Sea’s coast in the west of Estonia, has been famous since the early nineteenth century for its spa facilities, mainly popular with tourists from the Baltic region and from Petersburg; the cur- ative properties of the local mud had been discovered and described by Dr. Carl Abraham Hunnius in his medical dissertation, submitted at the University of Tartu in 1821. Like other spas of the Baltic region, Haapsalu attracted a more or less sol- Toomas Siitan conducts Monteverdi’s Vespers at the Haapsalu Early Music Festival. See pp. 10–11 vent public; spa facilities like the kursaal for more images from the festival. reflected their sophisticated status. After Denmark, Sweden, and Russia. The mag- Innocent III, in which Terra Mariana com- Estonia’s first period of independence, nificent Haapsalu Dome church reflects prised four bishoprics in a region that is 1918–40, Haapsalu sank nearly into in- this former significance. more or less identical to today’s Estonia significance; it is is slowly being rediscov- Since 1994, Haapsalu has been home to and the northern part of Latvia. Thus the ered as holiday resort since the Singing the Haapsalu Early Music Festival. The Haapsalu Early Music Festival featured in Revolution and Estonia’s second inde- festival was been founded by Toomas its seven concerts various programs that pendence in 1991. Today, architectural tes- Siitan, who, with support from local and were directly or indirectly related to the timonies in Haapsalu recall both periods, governmental sponsors like the Estonian Virgin Mary. so that in his Rough Guide to the Baltic Ministry of Culture, the Estonian Culture With music from the Middle Ages to States, Jonathan Bousfield can call Haap- Foundation, the Haapsalu town authorities, the late eighteenth century, and even the salu “an endearing mixture of belle époque and others, manages to invite top-ranking present age, the music’s historical band- gentility and contemporary chic.” Having international early music ensembles and with was broad. The two concluding con- around 12,000 inhabitants, Haapsalu is a artists to Haapsalu. At the beginning of certs, however, focused on seventeenth- rural center with a number of scattered July a number of concerts take place in the century music: a very impressive recital of summer houses. Dome church and other venues; nearly one late sixteenth- and early seventeenth- Haapsalu has been an important part of half of the concerts are played by interna- century madrigals and their sacred con- the church since its first archival record in tional artists while the other half are per- trafacta, given by the Compagnia del 1279, although the see was moved to formed by Estonian artists. Madrigale, and a great performance of Kuressaare on the nearby island Saarema This year’s festival was devoted to the Monteverdi’s Vespro della Beata Vergine, in 1562 as a result of the breakdown of the 800th anniversary of the proclamation of conducted by the festival’s founder Livonian confederation and the struggle old Livonia as “Terra Mariana” by Pope Toomas Siitan. for supremacy in the Baltic region between continued on page 4

MIAMI 2016 continued from page 1 Uber ride away from the Grove. It is actu- designed by Frank Gehry. Nearby you ethnic restaurants, including A La Folie, ally a barrier island with an enormous and can find numerous museums, including where you can enjoy genuine French cui- inviting beach but is best known for its ac- Wolfsonian-FIU on Washington Avenue sine en plein air at reasonable prices in an tive nightlife and the celebrities who own with its unparalleled collection of Art Deco old European atmosphere. Detailed infor- homes either there or nearby. Lincoln items from 1885– 1945. Also close by is mation regarding registration, housing, and Road is the cultural heart of South Beach, Española Way, a less glitzy but more travel will be available on the forthcoming where Michael Tilson Thomas’s New evocative pedestrian mall than the very conference website. And Away We Go! World Symphony is housed in a theater chic Lincoln Road, but also teaming with

Vol. 24, No. 2, 17th-Century Music  3 “Oh I know, all I owe”: SSCM 2015 at the University of Iowa(y) by esther criscuola de laix

owa City is the kind of place that can Rose miler”). Finally, bridging any gap that Ahrendt). Although Andrew Cashner’s pa- take one by surprise after hours of driv- may have remained between the previous per on neoplatonism in the seventeenth- Iing along through the plains and small two speakers, another eminent scholar of century villancico repertoire was cancelled, towns of the Midwest. Suddenly, looming seventeenth-century opera (Colleen Rear- Jeffrey Kurtzman stepped in to illuminate there out of the cornfields, is the vibrant, don), with characteristic panache, surveyed the sixteenth- and seventeenth-century Ital- walkable downtown of a moderately sized opera impresarioship in Siena between ian antiphoners and the common post- university town, full to bursting with hip 1669 and 1704, starting with the patronage Tridentine practice of substituting motets markets, sandwich shops, and boutiques. of the Chigi family and culminating with for antiphons—a possible key toward mak- This diamond-in-the-rough location was the playwright/librettist Girolamo Gigli, ing sense of the 1610 Vespers. Saturday of- an ideal site for the first-ever joint annual who jumpstarted the Sienese operatic scene fered two full sessions’ worth of papers on meeting of SSCM and the American Han- of the 1680s and 90s and was instrumental Handel oratorios (Esther II, Messiah, The del Society. Thirty-three scholarly presen- in launching the career of the celebrated Triumph of Time and Truth, and Jepththa, tations organized into twelve sessions, the Senesino. Friday afternoon’s plenary by Annette Landgraf, Donald Burrows, AHS’s Howard Serwer Memorial Lecture, spanned an equally diverse range of topics, Matthew Gardner, and Kenneth Nott, re- and three concerts—one for each night— this time centering on French music: from spectively) and one on concepts of good made this an unforgettable weekend of in- Johnathan Gibson’s paper on the represen- musical taste in France. Margo Martin’s pa- tellectual discovery and musical enjoyment. tations of disorder and chaos in the Lullian per, besides placing Saint-Lambert’s 1702 One obvious side effect of the joint tragédie en musique to Shirley Thompson’s harpsichord treatise into conversation (as it character of the meeting was, of course, on the makeup of the chœurs, both petits were) with contemporary conversation that parallel sessions—a longtime SSCM and grands, in Charpentier’s Mélanges manuals, also featured live musical exam- no-no—were unavoidable. It was a testi- autographes (hint: sometimes petit-chœur ples played by the presenter and a guest mony to both the quality of the offerings ≠ soloists!), and a deft exploration of dance appearance by Virginia Lamothe. and the intellectual curiosity on both sides seventeenth-century musical international- Michael Bane’s paper, the winner of the that choosing between breakout sessions ism by Graham Sadler, discussing Irene Alm Memorial Prize, in contrast, was no easy matter. But this was eased (a) French influences upon the music of highlighted an intriguing disconnect be- somewhat by the fact that five of the twelve (b) the Veneto-born Agostino Steffani at tween the musical and civility discourses of sessions were plenary, not only bringing (c) the courts of Hanover and Munich. seventeenth-century France: according to together senior scholars in both the The smorgasbord of topics continued in Bertrand de Bacilly (1668), one main prob- seventeenth-century and Handelian realms the breakout sessions. On Friday we were lem with amateur singers was essentially but also allowing for some truly virtuosic treated to a reassessment of the depiction that they didn’t grimace enough. Two cross-fertilization between the two sides. of heroism in Handel’s oratorios (Jonathan papers later that afternoon delved into sub- Thus, kicking off the conference on Thurs- Rhodes Lee); the meaning and function of tleties of instruments and instrumental day afternoon, we heard a noted scholar of infernal balli and crowd scenes in operas music, from “liminal” giga rhythms and ar- seventeenth-century opera (Beth Glixon) il- by Moniglia, Pallavicino, and Cavalli chaic rhythmic notation in sonatas by Prat- luminate the career of a celebrated and (Aliyah M. Shanti); the metamorphosis of tichista and Bononcini (Gregory Barnett) to multi-talented musician of Handel’s period a Handel march into the Methodist hymn some minute, mathematical details on lute (Vittoria Tarquini). Then, a noted scholar of “Soldiers of Christ, arise” (Stephen and fretting patterns in visual art, illumi- Handel oratorio and opera (John Roberts) Nissenbaum); and a fascinating journey nated by way of 3D imaging (David shed new light on the biography of a late through early eighteenth-century musical Dolata). Margaret Murata gave an insight- seventeenth-century German composer ac- and cultural transfer between the Dutch ful survey of the representation of biblical tive both in Venetian sacred music and, as Republic, France, and England courtesy of heroines in the Roman oratorio repertoire, it turns out, likely the Roman opera scene the performing and copying activities of both in the oratories like San Filippo Neri too (Johann Rosenmüller, aka “Zuane Charles and William Babel[l] (Rebekah and the SS. Crocifisso (which usually ad- mitted only men) and in private chapels (where women joined the audience as TWENTY-SECOND EARLY MUSIC FESTIVAL IN HAAPSALU continued from page 3 well); Brian Scott Oberlander’s paper on images of birds in seventeenth-century These two concerts also underlined one Baerenreiter edition of the Vespro, made by French devotional music was unfortunately of the festival’s main features: the togeth- Hendrik Schulze and other scholars, and canceled. Saturday’s undisputable highlight erness of Estonian and internationally though speaking in terms of performance was the Howard Serwer Memorial Lecture, renowned artists, particularly given that practice he did not provide striking new in which the inimitable Nicolas McGegan some members of the Compagnia del solutions to the well known performance regaled both societies with reminiscences Madrigale also sung as soloists in the matters of this work the concert simply and anecdotes of his near-lifetime relation- Vespro alongside the Haapsalu Festival was a great pleasure to listen to. ship with Handel’s music. Serious rumina- Choir and Orchestra, both of which are The Haapsalu Early Music Festival is to tions on the nature of authenticity rubbed constituted of professional Estonian singers be continued in July 2016 and is well and musicians. Toomas Siitan used the new worth a recommendation. continued on next page 4  Vol. 24, No. 2, 17th-Century Music SSCM 2016: Call for Papers

he Society for Seventeenth-Century and music and the Hispanic world are es- cannot give an individual paper at two con- Music will hold its Twenty-Fourth pecially encouraged. Presentations may secutive meetings, nor make more than TAnnual Conference from Thursday take a variety of formats, including indi- one presentation at a single meeting. For through Sunday, 14–17 April 2016, in Mi- vidual papers 20 minutes in length, individual papers, abstracts not exceeding ami, FL, hosted by the School of Music at lecture-recitals (45 minutes), workshops 350 words should clearly represent the ti- Florida International University. Proposals involving group participation, roundtable tle, subject and argument, and should indi- on all aspects of seventeenth-century mu- discussions, and panel sessions. cate the significance of the findings; please sic and its cultural contexts are welcome; All presenters must be members in include audio-visual needs. Proposals for those that explore music and colonialism, good standing of the Society. A presenter presentations in other formats should be of a similar length; they should clearly state and justify the intended format, and should SSCM 2015 continued from previous page indicate the originality and significance of elbows with side-splitting accounts of zany of the three nights—all completely differ- the material to be delivered. Those for stagings (poodle chorus, anyone?). ent. On Thursday we were treated to a glo- lecture-recitals must include recordings of Sunday’s four morning papers—all rious Vespers of 1610 performed by stu- the proposed performer(s) playing exam- plenary—brought the conference to a vir- dents of the University of Iowa School of ples of the same repertory if not the exact tuosic conclusion. Jennifer Williams Brown Music, preceded by an engaging and in- proposed work(s), as well as short biogra- and Jonathan Glixon presented new docu- formative pre-concert lecture by Jeffrey phies. Audio or video recordings support- mentation and insights on Cavalli and his Kurtzman (who else?). Friday’s concert, ing proposals for lecture-recitals are re- operas: the former reexamining the motives part of the university’s Guest Artist Recital quired; we regret that they cannot be behind Cavalli’s 1662 decision to quit series, featured husband-wife duo Lena returned. opera in light of the French-inspired crowd Weman (traverso) and Hans-Ola Ericsson Proposals should be sent by e-mail and dance scenes of Scipione Affricano (organ), who offered music by J. S. Bach, (deadline: midnight, 1 October 2015) to (and showing us a superb video of those C. P. E. Bach, and Handel; spot-on musi- the Program Committee at robert.holzer@ scenes as performed by her Collegium stu- cianship and superb ensemble character- yale.edu with the header “SSCM Pro- dents), and the latter tracing the varied itin- ized the entire program. Somewhat spottier posal.” The e-mail should carry two .pdf erary of Erismena through twelve North- was Saturday’s performance of Judas attachments. The first (labeled with title ern Italian cities between 1656 and 1673. Maccabaeus, given by the Chamber alone) should include only title and ab- Markus Rathey traced the persistence of Singers of Iowa City, though not without stract; the second (labeled with name and the pre-Reformation Kindelwiegen (cradle- its moments; one of these was the pre- short title) should contain name, address, rocking) ritual in Schütz’s Christmas His- concert lecture by Jordan Smith on the his- telephone, fax, e-mail address, and institu- tory, reflecting on the ways such scenes in- torical and scriptural background of the tional affiliation or city, along with contact vited listeners to participate physically in story of the Maccabees. Besides the con- information. The latter should also be the Christmas story. Examining a com- certs, a tour of the University of Iowa Mu- pasted into the body of the e-mail in case pletely different sector of Schütz’s output, sic Library special collections department of transmission problems. Janette Tilley read Schütz’s Song of Songs was offered Friday afternoon (complete The Irene Alm Memorial Prize will be settings through a gynocentric lens and sit- with souvenir buttons, proudly sported by awarded for the best scholarly presentation uated them in a devotional tradition that members of both societies all weekend given by a graduate student. Students specifically privileges the feminine nature long), and the classics department’s All- should identify themselves as such on the of the soul. Day Virgil Vigil, held in the lobby of the non-anonymous copy of the abstract. One particular treat of this year’s con- conference hotel, provided an appropri- ference was that there was a concert each ately erudite soundtrack to the weekend. Kudos and thanks go to the local orga - Treasurer’s Report nizer Robert Ketterer and his intrepid team Cavalli’s Xerse in Performance of student volunteers for keeping everything The Society’s financial position remains healthy. We continue to attract new mem- The Parisian version of Nicolò Minato running smoothly, and to the members of bers from North America and overseas, and Francesco Cavalli’s Xerse, to be ed- both program committees (chaired by and we encourage members to support the ited by Barbara Nestola and Michael Wendy Heller; Nicholas Lockey, David Society through membership renewal and Klaper for the series Francesco Cavalli: Ross Hurley, and John Roberts for AHS; donations. Please consult the SSCM web- Opere (Bärenreiter), will be performed, Catherine Gordon-Seifert, Robert Holzer, site for further information. The full trea- on the basis of a pre-publication score, and Arne Spohr for SSCM)—not only for surer’s report for 2015 will appear in the by Emmanuelle Haïm at the Opera of crafting a uniquely diverse and edifying pro- spring 2016 Newsletter. Membership re- Lille on 2, 4, 6, 8, and 10 October 2015. gram but also for demonstrating with flying newal notices for 2016 will be sent in De- Further performances will take place in colors that concurrent sessions don’t have to cember 2015. Vienna (18 October 2015), this being a be bad. That said, it will be refreshing to be Respectfully submitted, concert performance, as well as in Caen back to our more usual all-plenary-all-the- Jonathan Gibson, treasurer (10 and 12 January 2016). time format next year in Miami! [email protected]

Vol. 24, No. 2, 17th-Century Music  5 ARTIS MUSICAE PERITI

Linda Phyllis Austern published “ ‘Lo Here I Burn’: Musical Fig- Classical Keyboard Tradition,” last May at the International Con- urations and Fantasies of Male Desire in Early Modern England,” ference of the Historical Keyboard Society of North America in Eroticism in Early Modern Music, ed. Bonnie Blackburn and (HKSNA) in Montreal, Canada. Other scholarly activities included Laurie Stras (Surrey, UK and Burlington, VT: Ashgate, 2015), the preparation of an annotated online bibliography on “Chaconne 175–202. Other contributors to the volume include Wendy Heller and Passacaglia” for Oxford Bibliographies, and revisions of his (“Ovid’s Ironic Gaze: Voyeurism, Rape, and Male Desire in Ca- articles “Chaconne,” “Passacaglia,” and, jointly with Frederick valli’s La Calisto”), Catherine Gordon-Seifert (“ ‘Precious’ Hammond, “Girolamo Frescobaldi” for the New Grove Online. Eroticism and Hidden Morality: Salon Culture and The Mid-17th- The “Frescobaldi” article now incorporates the “F” catalogue Century French Air), and Alan Howard (“Eroticized Mourning in numbers from his Frescobaldi Thematic Catalogue Online. Henry Purcell’s Elegy for Mary II, O dive custos”). Kerala J. Snyder announces the publication of The Choir Library Michael Bane was awarded a Fulbright Fellowship for the 2015– of St. Mary’s in Lübeck, 1546–1674: A Database Catalogue on the 2016 academic year to conduct dissertation research in Paris, University of Gothenburg, website at http://goart-vas-l.it.gu.se France. His project is entitled “Honnêtes Gens as Musicians: The /webgoart/goart/Snyder.php. While Petrus Hasse, Franz Tunder, Amateur Experience in Seventeenth-Century Paris.” and Dieterich Buxtehude were serving as organists of St. Mary’s Church, its cantors assembled a choir library of some 2000 works, Rebecca Cypess has received a short-term research grant from the which are catalogued here for the first time. Its 69 sets of printed American Association of University Women for final editing of partbooks and one set of manuscript parts remained in the church her book, Curious and Modern Inventions: Instrumental Music as until 1814, when the city of Lübeck gave them to the newly Discovery in Galileo’s Italy, forthcoming from the University of founded Gesellschaft der Musikfreunde in Vienna, where they re- Chicago Press. The book has also received a subvention from the main today. Now that the catalogue is published, she is working AMS 75 PAYS endowment. on arranging performances from this repertoire. The first of these Don Fader published “ ‘Les Ornemens de l’art’: Marc-Antoine concerts occurred at the Boston Early Music Festival, in a fringe Charpentier et la tradition du sublime harmonique,” in À la croisée concert entitled “Festive Vespers for Trinity from Lübeck’s des arts - Sublime et musique religieuse en Europe, ed. Sophie Marienkirche, ca. 1660.” Against a backdrop of three Monteverdi Hache and Thierry Favier (Paris: Garnier, 2015), 275–94. He operas and his 1610 Vespers, Canto Armonico performed con- presented the paper “Le Régent en Bacchus? French Noble Self- certed works by Giovanni Rovetta and Alessandro Grandi, sur- Construction, Operatic Allegory, and Philippe d’Orléans’s Penthée rounded by German chorales and organ works by Franz Tunder. (1703)” at the International Conference on Baroque Music at the Andrew H. Weaver was promoted to full professor of musicology Mozarteum (Salzburg, Austria), 12 July 2014, and the national at The Catholic University of America. He also announces the pub- meeting of the American Musicological Society, Milwaukee, WI, lication of the article “A Recently Rediscovered Motet by Holy 6 Nov. 2014. He also received a grant from the Office of the Vice Roman Emperor Ferdinand III,” Early Music 43, no. 2 (May President for Research, University of Alabama, for research 2015): 281–89. conducted July 2015 at the Manuscripts Department of the Bib- liothèque Nationale on the project “Music and Cultural Transfer Amanda Eubanks Winkler has published “Dangerous Perfor - in the Early Eighteenth Century: The Prince de Vaudémont.” Don mance: Cupid in Early Modern Pedagogical Masques,” in Gender also performed as recorder soloist and chamber musician at the and Song in Early Modern England, ed. Katie Larson and Leslie following festivals: Staunton Festival (Staunton, VA; Aug. 2014), Dunn (Farnham: Ashgate Publishing, Ltd., 2014), 77–91; “Mad- Valley Conservatory Early Music Festival (Huntsville, AL; Sept. ness ‘Free from Vice’: Musical Eroticism in the Pastoral World of 2014), TroisdorfBAROCK (Troisdorf, Germany; Aug. 2015). The Fickle Shepherdess,” in The Lively Arts of the London Stage, 1675–1725, ed. Kathryn Lowerre (Farnham: Ashgate Publishing Charlotte Mattax Moersch recorded the “Pièces de clavecin” of Ltd., 2014), 149–69; “ ‘Our Friend Venus Performed to a Miracle’: Jean Henry D’Anglebert, including suites and Lully transcriptions Anne Bracegirdle, John Eccles, and Creativity,” in Concepts of both from his 1689 publication and the manuscript collection Rés. Creativity in Seventeenth-Century England, ed. Rebecca Herissone 89ter. The compact disc was recently released on Centaur Records and Alan Howard (Woodbridge, UK: Boydell and Brewer, 2013), (CRC 3455). 255–80, and “ ‘Hither this Way’: Musical Dryden for Nonmusician Hendrik Schulze was granted early tenure and promoted to the Students (and Nonmusician Teachers)” (co-authored with Kathryn rank of associate professor at the University of North Texas. Lowerre) in Approaches to Teaching the Works of John Dryden, ed. Jayne Lewis and Lisa Zunshine (New York: Modern Language Alexander Silbiger gave the Keynote Lecture, “From Paris to Association of America, 2013), 124–31. Montreal and Points In Between: A Celebration of the French

6  Vol. 24, No. 2, 17th-Century Music Society for Seventeenth-Century Music Annual Business Meeting Sheraton Hotel, Iowa City, Iowa 24 April 2015, 12:35 PM

Call to Order and Approval of Minutes (Stewart Carter) The president noted that the Governing Board considered rec- The president called the meeting to order at 12:35 PM. The min- ommending an increase in membership dues during the meeting utes of the Annual Business Meeting on 4 April 2014 were ap- of 4/23, but ultimately decided against the move. He warned that proved as submitted. rising expenses may force the Board to recommend an increase in dues in the near future. Acknowledgments The president thanked Local Arrangements Chair Rob Ketterer and Report from the Chair of the American Heinrich Schütz Soci- his assistant, Kelly Flynn, for their efforts in organizing the joint ety (Gregory Johnston) conference of the Society for Seventeenth-Century Music and the Johnston offered a brief report on the Schütz Society conference American Handel Society. He also thanked the SSCM members in Copenhagen in Fall 2014. A full report is in the spring Newslet- of the joint program committee—Wendy Heller, chair, Bob Holzer, ter. Dresden will be the site of that Society’s next conference, in Arne Spohr, and Catherine Gordon-Seifert. He also reported that October 2015. the Governing Board has approved creation of a new SSCM Hand- Report from the Webmaster (Kimberlyn Montford) book, which includes guidelines for Local Arrangements Chairs The webmaster reported that the Society’s website is working very and Program Committee Chairs, as well as the Society’s invest- well, largely because of the efforts of Chris Borgmeyer of Crooked ment policy. The handbook will not become part of the Society’s River Design. She asked members to report problems to her. bylaws, nor will it be posted on the Society’s website, but it will be made available to interested parties as needed. Report from the Editor-in-Chief of the Journal of Seventeenth- Century Music (Kelley Harness) Report from the Vice-President (Amanda Eubanks Winkler) The editor-chief reported that vol. 17 of JSCM has just been As chair of the Grove Music Online Committee, the vice-president mounted on the website, and that four more issues are well under- announced that the Committee is continuing its work on updates way. She further reported that in spring 2016 she will step down, for articles on seventeenth-century music, and that Oxford Uni- and Lois Rosow will take her place. She is looking for additional versity Press is pleased with the Committee’s work. They will con- editorial assistance. tinue to provide $500/annum toward graduate student travel. As chair of the Society’s Travel Grants Committee, the vice- Report from the Editor of the Newsletter (Alexander Dean) president announced that, thanks to donations from members as The editor reported that the first issue under his editorship was well as funds provided by the Society, six members of the Society mailed in early April. He asked members to send him reports of received support for their travel to Iowa City: Kimberly Beck, Ben- conferences, other news. Several members did not receive the jamin Dobbs, Beth Glixon, Emily Hagen, Virginia Lamothe, and newsletter and the editor suggested that they check their member- Margot Martin. Also, a seventh member, Brian Oberlander, re- ship status. ceived travel support from funds provided by Oxford University Report from the Editor-in-Chief of the Web Library of Press for the Grove Music Online project. The recipients were ap- Seventeenth-Century Music (Janette Tilley) plauded by the membership. The editor-in-chief reported that the edition of keyboard arrange- Report from the Treasurer (Christine Getz) ments of the music of Jean-Baptiste Lully has been mounted. The The treasurer presented two reports, one for the calendar year first twelve items of the massive edition of Italian instrumental 2014, the other for 1 January–24 April 2015. The Society is in a music are also up and running. Janette urged members to submit strong position financially, with $52,958.49 on hand. This figure editions for consideration. includes $5,000 recently invested with Vanguard. The Treasurer Announcement of the 2016 conference in Miami (David Dolata) also reported that she had just received a final accounting from Dolata announced that the 2016 conference will be held in Miami Trinity University for the 2014 conference. Because registration 14–17 April 2016. Florida International University will be our costs for the 2014 conference covered more expenses than antic- host, but the conference will be held in Coconut Grove. Hotel costs ipated, the Society will have to pay Trinity only about $324, rather (approx. $180/night single) will be higher than in some other lo- than the $2,000 originally budgeted. cations, but this is a moderate rate for Miami. He further reported Jonathan Glixon asked why our current balance is approxi- the conference will feature a recital by vihuelist John Griffiths and mately $4,000 below the balance on 31 December 2013. Kelley a performance of John Blow’s Venus and Adonis. Harness noted that expenses for JSCM may account for part of the Bob Holzer will be program chair for the 2016 conference. The decline, since for the last two years the Journal was with Univer- call for papers will be announced in a few weeks, with a deadline sity of Illinois Press, and we were not invoiced for their services. of 1 October 2015. Crooked River Design now handles our web services, and some rather large expenses have been required to launch the Journal on our new site. continued on page 8

Vol. 24, No. 2, 17th-Century Music  7 MEMBERSHIP DIRECTORY

BUSINESS MEETING continued from page 7

New Business Acknowledgment of Outgoing Officers Cathy Gordon, chair of the local arrangements committee for the Incoming president Alexander Silbiger acknowledged the service 2017 meeting, solicited feedback about the conference location: of outgoing officers Stewart Carter, president; Amanda Eubanks Providence or Newport? Winkler, vice-president; Andrew Weaver, secretary; and Christine Getz, treasurer. Introduction of New Officers Respectfully submitted, The president introduced incoming officers, who will begin their Amanda Eubanks Winkler terms on 27 April: Alexander Silbiger, president; Wendy Heller, For Andrew Weaver in absentia vice-president; Rebecca Cypess, secretary (in absentia), and Jonathan Gibson, treasurer. Current officers Gregory Johnston, AHS chair, and Hendrik Schulze, member-at-large, will continue in their current positions.

8  Vol. 24, No. 2, 17th-Century Music John Hajdu Heyer [email protected] Maria A. Purciello [email protected] John Walter Hill [email protected] Markus Rathey [email protected] Moira Hill [email protected] Colleen Reardon [email protected] Robert Holzer [email protected] Lee Ridgway [email protected] Erika Honisch [email protected] Christoph Riedo [email protected] Christina Hutten [email protected] John Romey [email protected] David Jansson [email protected] Lois Rosow [email protected] Päivi Järviö [email protected] Natasha Roule [email protected] Claudia Jensen [email protected] Pamela Ruiter-Feenstra [email protected] Gregory Johnston [email protected] Craig Russell [email protected] Dr Daniela Kaleva [email protected] Lucy Hallman Russell [email protected] YouYoung Kang [email protected] Graham Sadler [email protected] Blanka Karnetova [email protected] Steven Saunders [email protected] Deborah Kauffman [email protected] Lionel Sawkins [email protected] Robert L. Kendrick [email protected] Paul Schleuse [email protected] McDowell Kenley [email protected] Anne Schnoebelen [email protected] Robert Ketterer [email protected] David Schrader [email protected] Jeffery Kite-Powell [email protected] Theda Ingrid Schultz von Dratzig Michael Klaper [email protected] [email protected] Ryan Koons [email protected] Hendrik Schulze [email protected] Eva Kuhn [email protected] Darwin F. Scott [email protected] Jeffrey Kurtzman [email protected] Eleanor Selfridge-Field [email protected] Sara Ruhle Kyle [email protected] Carroll and Dorothea Shaddock [email protected] James L. Ladewig [email protected] [email protected] Virginia Lamothe [email protected] Aliyah Shanti [email protected] Carlo Lanfossi [email protected] Robert Shay [email protected] Arthur Lawrence [email protected] Susan P. Shimp [email protected] David Ledbetter [email protected] Alexander Silbiger [email protected] Tova Leigh-Choate [email protected] Roger Skarsten [email protected] Charlotte Leonard [email protected] Kerala J. Snyder [email protected] Jeffrey Levenberg [email protected] Arne Spohr [email protected] Catherine Liddell [email protected] Derek Stauff [email protected] Thomas Lin [email protected] Louise K. Stein [email protected] Katherina Lindekens [email protected] Jane Stevens [email protected] Eva Linfield [email protected] Austin Stewart [email protected] Donald Livingston [email protected] Alexandros Stoupakis [email protected] Kevin Madill [email protected] John G. Suess [email protected] Tom Marks [email protected] Stefanie Tcharos [email protected] Carol G. Marsh [email protected] Shirley Thompson [email protected] Margot Martin [email protected] gordon thomson [email protected] Charlotte Mattax Moersch [email protected] Janette Tilley [email protected] Eleanor McCrickard [email protected] Gwendolyn Toth [email protected] Rachel McNellis [email protected] Gene S. Trantham [email protected] Borys Medicky [email protected] JoAnn Udovich [email protected] Tom Merrill [email protected] Nicola Usula [email protected] D. Douglas Miller [email protected] Marc Vanscheeuwijck [email protected] Stephen R. Miller [email protected] Andreas Waczkat [email protected] Nona Monahin [email protected] Leonora Wagner [email protected] Kimberlyn Montford [email protected] Stephen Wainman [email protected] Catherine Moore-Broatman [email protected] Jonathan P. Wainwright [email protected] Margaret Murata [email protected] Andrew R. Walkling [email protected] Jocelyn Nelson [email protected] Andrew H. Weaver [email protected] Jennifer Nevile [email protected] Elizabeth Weinfeld [email protected] Fern Nevjinsky [email protected] John Whenham [email protected] Samantha Owens [email protected] Bryan White [email protected] Janet K. Page [email protected] Janine Wiesecke [email protected] Mary Paquette-Abt [email protected] Carla Williams [email protected] Sara Pecknold [email protected] Amanda Eubanks Winkler [email protected] Janet Pollack [email protected] Karl Wohlwend [email protected] Rose A. Pruiksma [email protected] Barbara Zuchowicz [email protected]

Vol. 24, No. 2, 17th-Century Music  9 Outside the Haapsalu Castle Church

Ensemble Daimonion

10  Vol. 24, No. 2, 17th-Century Music Ensemble Floridante

Vox Clamantis

Vol. 24, No. 2, 17th-Century Music  11 The Newsletter of the Society for Seventeenth-Century Music Vol. 23, No. 2, Spring 2014 Alexander Dean, 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 remaining calendar year (2015). • Society for Seventeenth-Century Music only regular membership, $35 • Society for Seventeenth-Century Music only student membership, $25 • SSCM + American Heinrich Schütz Society, regular membership, $75 • SSCM + AHSS, membership for retirees/pensioners, $55 • SSCM + AHSS student membership, $45 • SSCM + American Heinrich Schütz Society, institutional membership, $80 Membership in the AHSS includes a subscription to the Acta Sagittariana, the newsletter of the International Schütz Society, and to the Schütz-Jahrbuch. Dues for individual membership in SSCM only may also be paid in advance and are exempt from any further rise in rates: • SSCM only for 2016 and 2017, $70 • SSCM only for 2016, 2017, and 2018, $105 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 membership application: http://sscm-sscm.org/membership/join-or-renew/. To renew your membership, visit your SSCM member account and renew your membership. 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: Jonathan Gibson, SSCM School of Music, MSC 731 880 S. Main St. James Madison University Harrisonburg, VA 22807, USA Phone: (540) 568-6324 Email: [email protected]