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17Th Biennial International Conference on Baroque Music 13 - 17 July 2016

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17Th Biennial International Conference on Baroque Music 13 - 17 July 2016 17th Biennial International Conference on Baroque Music 13 - 17 July 2016 Hosted by Canterbury Christ Church University in co-operation with the Royal Musical Association 17th Biennial International Conference on Baroque Music, hosted by Canterbury Christ Church University 13–17 July, 2016 Conference Committee: Robert Rawson (Chair) Therese de Goede Valeria de Lucca Tassilo Erhardt Thierry Favier Thomas Hochradner Peter Holman Alan Howard David Newsholme Chris Price Théodora Psychoyou Yo Tomita Venues and rooms used for conference events: • Powell Lecture Theatre (Pg09), lecture rooms (Pg06, Pf06) • Laud Lecture Theatre: Lg16 • Newton: Ng07 • Maxwell-Davis: MDg01 (book stalls and registration) • St Gregory’s Centre for Music: lecture-recitals and Thursday evening Venus and Adonis concert • Food Court for lunches (vouchers in Conference Pack) 3 E N A O L L D R U N T T O I T N T G E E T T T R E D S E E B R O A R E T S S R 3 ’ T K N S C O N L O E E V T Y ostern Gate A E H R own Copyright ED 225480 N T 19 r P E R O T G S 29 O pedestrian entrace A P N W O M fice, © C Y f D 18 7 A edestrian L P and car entrance for St Gregory’s Centre TE A 1 s Stationery O ’ 26 ST GREGORY’S CENTRE 26 entrance 31 pedestrian 24 ENTRANCE St Augustine’s PEDESTRIAN only Goods 2 POSTERN G 32 Goods 27 inwards 9 oller of Her Majesty r D King’s School 16 A 20 O R 28 UGUSTINE’S 20 3 A 22 S 4 o T Library foyer E ST 15 COLERIDGE M St Augustine’s Abbey L Fish pond O PEDESTRIAN ENTRANCE 17 TION / H A 4 dnance Survey on behalf of the Cont ennis 2 court r T 6 TED 1 INFORM SECURITY POINT A SECURITY 3 21 H STUDENT BUILDING DESIGN SMOKING AREA T 12 P R O JOHNSON 11 N 14 5 8 TED P A dnance Survey map by permission of O 10 r 5 VISITOR DESIGN SMOKING AREA RECEPTION POWELL 3 2 o T St Gregory’s Centre (one minutes walk) ERASMUS & I-ZONE P Plan view of North Holmes Campus RAMSEY AL U RAMSEY T TE 1 R A O G P UDIO VIS Sports centre G A N 13 St Martin’s Church THORNE & FYNDEN O Y A L . W r S M I R LIBRARY & G 25 L el 020 8398 7772 Based upon 1998, Serial No. 01613, Scale 1:1000 O I T P E L A N I N G R 0 P 3 S NEWTON Main entry points Corridors & covered walkways Entrance gates Disabled parking Recommended pedestrian route to Christ Church Sports Centre TE 2 1 2 A Goods inwards G A 1 T DESIGN & PRODUCTION LIBRARY ©AXOS DESIGN, 2009. INVIC Designated Smoking Areas HEPWORTH SOMERVILLE D A RO P ark P FOOD COURT P MOORE TED A Visitor Car TE 3 , f or 1 = first, s or 2 = second etc) and the room numbe A CHAPEL r G P P DESIGN SMOKING AREA ANSELM S P Cycle parking FLEMING Disabled parking arking TIONAL P No vehicular access K A VISITOR T AL W R RECEPTION L P P Due to space restrictions, parking is normally reserved for permit holders and visitors by prior arrangement. There are numerous cycle racks situated across the campus. Rooms are numbered by the letter of the building, followed by the floor level (g = ground floo INTERN SIONS HOUSE HOLME SIONS S FISHER S SECURITY P SIR JOHN CADEL JOHN SIR ADMI OLD SE ONGPO L HALL TE 4 P A AL (L) G U P BECKET P H AGES (PC) TON’S UDIO VIS T T A T WG) TIONAL (IH) NORT L A VIDSON, LANG & TEMPLE Pictorial view of North Holmes Campus A D YMNASIUM G ROAD TED INTERN JOHNSON (J) LADY WOO GREEN ( LIBRARY & MOORE (M) NEWTON (N) OLD SESSIONS HOUSE (O) POWELL (P) PRIORY CO RAMSEY (R) DESIGN & PRODUCTION SOMERVILLE (S) ST GREGORY’S CENTRE ST MARTIN’S PRIORY (PR) STUDENT BUILDING (U) THORNE & FYNDEN T A R HOLMES 1 7 3 5 2 7 1 6 2 8 4 9 0 9 8 0 1 2 2 2 2 2 1 1 3 2 3 2 E 2 2 2 3 O NORTH G P DESIGN SMOKING AREA N LAN G GLEBE HOUSE PRI S N TES O TA SPORTS CENTRE L ES TE 5 Y A A G W , r MS , Priory Cottages, I St Martin’s Church y CENTRE oye CHAPLAINCY GR F L , I AGES ood Court) y T F t A (I) P T i E T ST MARTIN’S PRIORY r TES (Y) G u N LAN A c VIDSON, LANG & TEMPLE T PRI e A S P ADMISSIONS ANSELM (A) (S Hall & BECKET (B) BOOKSHOP CHAPLAINCY CENTRE (CC) CHAPEL COLERIDGE HOUSE (CH) D ERASMUS + I-ZONE (HELPDESK) (E) ES FISHER (F) FLEMING (Fg) GLEBE HOUSE (K) GYMNASIUM HEPWORTH (H) INVIC PRIORY CO ey to buildings o 1 3 5 2 0 6 4 7 3 5 2 T St Martin’s Prior Glebe House & Sports Centre (five minutes walk) 8 6 9 4 1 2 1 1 1 1 1 1 1 1 K on plan view with building letters in brackets Welcome! Dear delegates, On behalf of the Conference Committee and the School of Music and Performing Arts at Canterbury Christ Church University, it is a pleasure to welcome you to the historic city of Canterbury. I am sure that you will enjoy the conference and we have also provided many opportunities for delegates to explore and enjoy this ancient city. I first attend this conference (when it was in Exeter) in the early days of my PhD at Royal Holloway and I found it inspiring and challenging. Since then it has been in Dublin, La Rioja, Manchester, Warsaw, Leeds, Belfast, Southampton and Salzburg. The diverse and international profile and reputation of this conference has always been and remains one of its greatest features—and it has never been more important than it is now. Enjoy Canterbury and the conference! With all best wishes, Dr Robert G. Rawson Chair of the17th Biennial International Conference on Baroque Music Table of Contents Conference Programme 1–26 Abstracts (single papers and lecture-recitals) 28–149 Abstracts (roundtable) 150–152 Conference Programme: Wednesday 13 July 12:00–17:30 Registration MDg01 !1 18:00–19:30 Welcome reception Cathedral Precincts Evening Delegates on their own for dinner See conference website for suggestions Thursday 14 July Morning Session Pg09 Pg06 Pf06 Lg16 Bach (Analysis) Sacred Oratorio and Corelli and Italian London Concert Life Mass Settings Violin Music chair: Yo Tomita Janet Page Michael Dodds Peter Holman !2 09:00 Alevizos, Re-ordering Abbado: The Medicis Pavanello: An MacMillan, The “The Art of Fugue”? and the oratorio unknown trio sonata Small Flute Concerto A New, Analytical production in Baroque by Corelli? Problems in Early Eighteenth- point 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 Grassi’s Trasgressione e ‘New’ Roman Concerts and the of the Mass in B Minor Pentimento di David: A Orpheus in Cultural Practice of Newly Discovered comparison: on the Musical Miscellany Oratorio Volgare ascription of 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 at Tommaso Paolo the Music Business? Significance in the Saint-Cyr: A plain-chant Alberghi (1716-1785), Public commercial Structure of C. P. E. musical mass by violinist: new concerts in London !3 Bach’s Magnificat Nicolas Clérambault? documents from the 1660–1750 Scuola delle Nazioni 10:30 Tea/coffee Thursday, Late Morning Session Pg09 Pg06 Pf06 Lg16 Opera in English Biography and Source French Opera Froberger Materials chair: Amanda Eubanks-Winkler Chris Price Don Fader Andrew Woolley !4 11:00 Lindekens, Words and Byram-Wigfield: When Hardeman: Cross-casting Vejvar: ‘Apparition’: music in John Blow’s Did You Last See Your Cupid: Female singers an adequate Venus and Adonis: An Father? Antonio Lotti’s and the god of love in metaphor for interdisciplinary Family in Hanover and French opera Froberger’s music? analysis Venice 11:30 Rawson: Pepusch’s Brover-Lubovsky: Sadler: Rameau and the Barker: Learning the Venus and Adonis Between Baroque and Tax Farmers: the curious trade: What did (1715)—a Tercentenary Romantic: Giuseppe case of the Paroles qui Froberger do in Metamorphosis Sarti as counterpoint ont précédé le Te Rome? student and teacher Deum (1744) 12:00 Duron: Opera in Hovi: Blancrocher, concert: the seventeenth marquis de Termes, century practices and Froberger — a according to the sources rich bourgeois, a poor of Lully and Campra nobleman, and a musician? 12:45 Lunch SCR !5 Thursday, Afternoon Session Pg09 Pg06 Pf06 Lg16 Ng07 Handel and Notation and Mysticism and Performance Ceremony and London Opera Aspects Spirituality Practices Space Contrapuntal Ingenuity chair: Donald Burrows Alon Schab Deborah Kauffman John Lutterman Théodora Psychoyou 14:00 Cummings: Howard: ‘The Gordon: The Sanguinetti: Realising Fernandes: !6 Handel under Clangour Ambiguous Role the bass on the cello? Ceremonial, music attack: the Resound’: of Jean-Joseph The early years 1650– and architectural London opera Canonic Surin’s 1700 space in the seasons 1733– Permutations in Cantiques Patriarchal Church 37 a Late Canzona Spirituels in the of the by Purcell Pursuit of Sacred Magnanimous Mysticism King: remaking roman models in Lisbon 14:30 Taylor: Slimáčková: Hutten: Prayer, Suckling: The Favier: Directors of Fugue as the Meditation, and realisation of Soundscape of a Italian Opera main musical Temptation: A recitative festive city: in 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: Lee: “Structural Crescenzo: The Baines: The Ghost In Thompson: Spatial Versification in Coherence subject Dies The Machine: how awareness and !7 Handel´s beneath Surface Domini in the arrangements made performance Opera Giulio Contrast” – sacred cantata for mechanical planning in the Cesare in Egitto Motivic of the Baroque musical instruments music of Marc- Treatment in period in Italy challenge modern Antoine Dario Castello’s ‘eighteenth-century’ Charpentier
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